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Gra znakami i znaczeniami w polskim artystycznym plakacie teatralnym

100%
Bolek E.
LingVaria : Półrocznik Wydziału Polonistyki UJ poświęcony zagadnieniom języka i językoznawstwa
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2018
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issue 25
245-253
EN
The paper begins with the assumption that an artistic theatre poster is composed of two interacting semiotic systems: the language (the title of the play, the name of the author, the place of stage production, the name or signature of the author of the poster, the year of its creation), and the image (graphic signs, meaningful typography, graphical arrangement, colour scheme). These two codes are interwoven; linguistic signs often fulfill the function of the image in multimodal messages, and vice versa. The application of the category of multimodality allows us to superimpose the meanings of iconic images, mental images, and images hidden behind words, when reading the content of a poster. In artistic theatre posters, verbal and visual signs play with senses and allow the reader to activate different contexts, which leads to a multitude of interpretations. Recipients are not obliged to read the creative, multimodal message in a single, prescribed way. They are free to follow various parallel interpretative routes. Signs of the poster play with each other and with the reader, and the entire meaning of the multimodal message can change as one of the multiple senses of a word, an image, or a colour is singled out.c
2
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Afisz – materiał ulotny. Typologia i budowa afisza na przykładzie afiszy teatralnych pochodzących ze zbiorów Wojewódzkiej Biblioteki Publicznej – Książnicy Kopernikańskiej w Toruniu

72%
Krajniak W.
Folia Toruniensia
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2015
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vol. 15
69-93
3
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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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