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Sarabernardyzacja, kwestia żydowska i upadek moralny O warszawskich fankach Sary Bernhardt

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Łuksza A.
Didaskalia. Gazeta Teatralna
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2020
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issue 159
1-35
EN
My article discusses the phenomenon of ‘sarahbernhardtisation’, which occurred in the winter of 1882 in Warsaw as a result of Sarah Bernhardt’s guest performances in one of the city’s theatres. It consisted in imitating the appearance and manner of the French star. I suggest that the sarahbernhardtisation is an example of early fan practice, where fascination with the idol coincided with the need to break the hegemonic model of femininity. I also argue that the anti-Jewish riots that preceded the French actress’s visit to Warsaw were of crucial significance for the social reception of Bernhardt and the wave of fan mimicry inspired by her.
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Theatre graphics and graphic theatre : Zich's semantics in posters and publicity

58%
Maryška M.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2020
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vol. 23
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issue 1
105-129
EN
The essay employs the concept of the 'semantic image' as articulated by Czech aesthetician Otakar Zich in his book The Aesthetics of Dramatic Art in order to outline how theatre publicity relates to theatre production and performance. Theatre graphics, posters, and other promotional materials contain images that substitute or compensate for what is not to be seen and heard onstage in form of 'technical images'; thus, these graphics condition the 'representational images' of dramatic locations.1 Publicity images can be also used to manipulate imagery associations related to actors as well as dramatic characters in order to facilitate their desired reception. This article focuses on the posters produced for Prague's National Theatre opera production of Tramvestie (2019) and two stagings of Peter Shaffer's Equus (1973, 2007) along with Alphonse Mucha's posters for Sarah Bernhardt.
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