Relevant bibliographies by topics / Playbills (Posters)

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Academic literature on the topic 'Playbills (Posters)'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Playbills (Posters)"

1

Friedland, Nancy E. "Urban Views: Digital Access to the Joseph Urban Collection at Columbia University." Theatre Survey 46, no. 2 (2005): 297–304. http://dx.doi.org/10.1017/s0040557405000177.

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Brander Matthews (1852–1929), author, critic and a professor of English and Dramatic Literature at Columbia University, believed strongly that, to best study theatre, researchers and scholars needed to see and access the makings of the stagecraft itself. Based on personal experience, Matthews realized that the observation of sets, props, costumes, models, sketches, and other ephemera would enable a better understanding and visualization of actual productions. As a result, he set out collecting such objects, as well as puppets, masks, posters, and playbills. In 1911, the Brander Matthews Dramat
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2

Szabó, Zsófia. "„A kerítésen azt harsogta a plakát...” Reklám és ismeretterjesztés a kaposvári Csiky Gergely Színház történetében." Theatron 16, no. 1 (2022): 113–30. http://dx.doi.org/10.55502/the.2022.1.113.

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Today, there are many different advertising forms and media available to share information, whereas in the past, theatres often promoted their production at the time on a single sheet of paper. Playbills, posters, and brochures tried to impress audiences with the title of the play and the names of the creators (author, actors, director, etc.), and then these prints became more spectacular and richer in visual elements. As Marvin Carlson pointed out, these advertisements did not only serve as invitations but also helped the audience to interpret the performance. In this paper, I study the broch
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3

Trávníčková, Markéta. "Ohlédnutí za první štací výstavy Račte vstoupit do divadla." Muzeum Muzejní a vlastivedná práce 57, no. 1 (2020): 38–47. http://dx.doi.org/10.37520/mmvp.2019.005.

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The traveling exhibition Please Enter Our Theatre and its respective exhibition catalogue represent a theatre playbill as a valuable subject of theatriological research as well as an attractive exhibit. The exhibition shows the theatre scene in the Czech lands from the mid-1600s to the mid-1900s, when the playbills have experienced the most wide-spread use, with overlaps to the present, when a theater poster took most of the playbill’s purposes upon itself. The exhibition also includes other objects pertaining to the productions of mostly Czech theatre companies from the vast collections of th
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4

Barsotti, Susanna, and Lorenzo Cantatore. "Illustrating Tradition. About Emanuele Luzzati’s Languages." Rivista di Storia dell’Educazione 12, no. 1 (2025): 65–76. https://doi.org/10.36253/rse-16861.

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In the history of Italian illustration, Emanuele Luzzati (1921-2007) represents an extraordinary example of attention to childhood declined in multiple and interchangeable languages of visual culture. From set design to theatrical costume design, from figure theatre to animated cinema, from books to illustrated books, from applied arts to posters, from playbills to covers, the artist’s work is characterised by a close relationship with the literary tradition (fairy tales, poems of chivalry, commedia dell’arte) of which he proposes a reinterpretation (which is also a rewriting and interpretatio
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5

Gorobets, Svetlana V., and Maria Yu ,. Gorobets. "Alexander Ziloti in Posters: The Story of the Musician’s Life and Work." Общество: философия, история, культура, no. 5 (May 21, 2025): 248–53. https://doi.org/10.24158/fik.2025.5.30.

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The article examines the poster as an obligatory element of upcoming performances or concerts, serving as a type of document and, until recently, the only source of informing the public about cultural events. The object of the authors’ research is the concert posters of the pianist Alexander Ilyich Ziloti used both in Russia and abroad. It is argued that it is possible to trace the musician’s artistic life by the data indicated in the playbill. The authors characterize the programs of the concerts, the names of the performers who participated in them, describe the historical halls in which the
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6

Olena, Zalevskaya. "UKRAINIAN POSTER OF THE 1990's–2010's: HISTORICAL AND ART-STUDY ASPECT." EUREKA: Social and Humanities, no. 5 (September 28, 2018): 3–10. https://doi.org/10.21303/2504-5571.2018.00715.

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The article is devoted to the consideration of the formation of poster art in Ukraine during the period of Independence. It touches on the development of new trends, directions and the essence of the modern Ukrainian poster, analyzes the emotional and figurative saturation of posters of the time given. Ukrainian graphic design of that time is at the transitional stage of the evolution process from the classical-modern Soviet school to the construction of its own national design model with a vivid tone of postmodernism. It took place through the development of many factors: commercial approach
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7

Beard, Fred, and Brian Petrotta. "Advertising and marketing archives and ephemera at the Harvard libraries: discovery and opportunity." Journal of Historical Research in Marketing ahead-of-print, ahead-of-print (2020). http://dx.doi.org/10.1108/jhrm-11-2019-0043.

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Purpose A series of online searches of the Harvard University Library System – which includes the Baker Library, Houghton Library and the Radcliffe Institute’s Arthur and Elizabeth Schlesinger Library – on the History of Women in America revealed nearly 1,000 archive and manuscript holdings on advertising and related topics. This paper aims to investigate the extent of these holdings, to assess their value to advertising and marketing historians and to explore their potential for encouraging future research on under-investigated topics and questions. Design/methodology/approach Described are t
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Books on the topic "Playbills (Posters)"

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translator, Klein Silke, Day Barbara translator, Institut umění - Divadelní ústav (Prague, Czech Republic), and Národní muzeum v. Praze, eds. Račte vstoupit do divadla. Institut umění-Divadelní ústav, 2019.

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2

Stach, Babett. Posters of GDR-films, 1945-1990. New York, 1991.

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3

Kitaura, Kōichi. Ningyō jōruri bunraku gedaizukushi. Kōsakusha, 2017.

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Kuraś, Marzena. Dawny afisz teatralny w zbiorach Instytutu Sztuki PAN. Instytut Sztuki PAN, 2017.

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Hidaka, Seiichi. Natsukashi no Nihon eiga posutā korekushon. Kindai Eigasha, 1989.

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6

Eigasha, Kindai. Natsukashi no gaikoku eiga posutā korekushon: Back to the glorious days of foreign movie. Kindai Eigasha, 1989.

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7

Ricky, Jay, ed. Extraordinary exhibitions: The wonderful remains of an enormous head, the whimsiphusicon & death to the savage unitarians ; broadsides from the collection of Ricky Jay. Quantuck Lane Press, 2005.

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8

Morsbach, Helmut, and Babett Stach. Posters of GDR Films 1945 - 1990. de Gruyter GmbH, Walter, 2011.

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9

Kogan, Gabriela, Silvia Hansman, and Susana Skura. Oysfarkoyft: Localidades Agotadas. del Nuevo Extremo, 2006.

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10

Theatre, Royal Shakespeare. Shakespeare at Stratford Upon Avon, Posters, Programmes, Playbills, Photographs, and Pictures: The Libraries of the Royal Shakespeare Theatre and T (Shakespeare ... Upon Avon, Posters, Programmes, Pla). MacMillan Publishing Company, 1991.

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Book chapters on the topic "Playbills (Posters)"

1

Fox, Adam. "Handbills and Placards." In The Press and the People. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198791294.003.0007.

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Chapter 6 examines the handbills that were passed around on the streets and the notices that were posted up in Scottish communities during the early modern period. In particular, it looks at government proclamations and civic ordinances, topical publications and newssheets, elegiac poetry and satirical squibs, commercial advertisements and playbills, together with other ephemeral items printed on a single sheet. It indicates the ways in which public places in Scotland would have been filled with a variety of flyers and posters that made up the textual environment of everyday life. The fragile
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2

Reside, Douglas L. "Picturing the Musical." In Fixing the Musical. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190073718.003.0003.

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Abstract The technologies used to promote and create a visual identity for musicals as part of promotional materials began to establish certain staging and costume elements as essential. Posters and sheet music covers for late nineteenth-century musicals often included color lithographs that defined the visual identity for a musical. Later, the photographs used on album covers, in souvenir playbills, and in companion books helped to “fix” certain visual choices and also provided a way for audiences far from theatrical centers to appreciate musicals not adequately represented in other media. In
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3

Rutter, Carol Chillington. "Shakespeare’s popular face: from the playbill to the poster." In The Cambridge Companion to Shakespeare and Popular Culture. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521844291.013.

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