The Municipal Theatre of Santiago was inaugurated on September 17, 1857, with the opera Ernani by g. Verdi. The beautiful building was the same walls that the current, the room ceiling and half circle-shaped relied on the curved arches. The Center, imposing until today, large lamp with wide glass tears. It had a capacity for more than 1,800 people and localities were divided into stalls, boxes and galleries. On December 8, 1870, just thirteen years after its inauguration, the Municipal Theater of Santiago was destroyed almost completely by a voracious fire that was declared after a presentation of the famous soprano Carlota Patti. Already rebuilt according to the plans ancient and retaining its primitive elegance and structure, the Municipal Theatre was inaugurated on July 16, 1873.
A great Italian lyric company presented La Fuerza del Destino, by Giuseppe Verdi opera. A new disaster hit in 1906: an earthquake destroyed the foyer and the main hall. The theatre improved in elegance and Lordship. Another fire, on May 27, 1927, caused serious damage on stage and side enclosures. With its restoration, expanded the scenario. Because of its size, beauty and good acoustics, currently are also performed concerts in the room Claudio Arrau. The theatre has been object of reforms and adjustments to put it abreast with the advances of modern theatrical technique, overhauling some of its dependencies, to provide both the artists and technicians an effective means that will successful and exciting expression to the miracle of art, in any of its forms.August 9, 1974, the beautiful building was declared a national monument. The Municipal Theatre of Santiago has three stable bodies, Orquesta Filarmonica de Santiago, Santiago and choir of the Municipal Theater Ballet, and workshops of painting, costume, setting, lighting and sound among others.
They don’t give account that are dead, I showed them the agony, my agony, the agony of living, but they are dead and could not feel it (1) Antonin Artaud La Semiotica, – science of meaning-, derives from two fundamental sources: the American philosopher Charles Sanders Peirce (1839-1914), founder of the Anglo-Saxon, that he named it precisely, semiotic tradition and the Swiss linguist Ferdinand de Saussure (1857-1913)one of the founders of the European tradition, who defined it as semiology. Etymologically the word semiotics/semiology is constructed from the Greek root sem, sema or semeion, in principle it only meant the study of symptoms, and, for example, in Greek Antiquity the term was applied to the military art and medicine, primarily in the latter, so much so, that at present, the medical study of the symptoms of the disease are He called semiology (2), so it can be summarized, that semiotics is the study of signs, unifying under this perspective, all an aserie guidelines and approaches to the analysis of culture. For Saussure semiology is the general science of all signs, – or symbol – systems, thanks to which men communicate with each other (3), what makes a social science semiology and presupposes that the signs are in systems, thus accentuating the human and social character of its doctrine. Peirce defined semiotics as almost necessary or formal doctrine of signs (), and the logic, in its general sense, is not but another name of semiotics (4), highlighting its logical and formal character. In summary, semiotics, or semiology, dealing with signs, systems and signal events, communication processes, linguistic runs, i.e., semiotics deals understood language as well as the Faculty of communicating, that as the exercise of this power, so it is the science of signs/symbols and signs systems, and is projected in three basic dimensions: the syntactic, – operations based on rules within a system of signs-signs; the semantic – relations between signs and the world external to the system of signs-; and the pragmatic, – evaluation of the system of signs with respect to the object they represent and their users.