تعد مجالات الصورة وعلاماتها الحركية حضوراً دلالياً للاتصال العلامي واتساعاً في الرابطة الجدلية ما بين الدوال ومداليها، التي تقوم بها الرؤية الاخراجية لإنتاج دلالات اخفائية تمتلك جوهرها الانتقالي عبر الافكار بوصفها معطيات العرض، ويسعى التشفير الصوري الى بث ثنائية المعنى داخل الحقول المتعددة للعرض المسرحي، ولفهم المعنى المنبثق من هذه التشفيرات البصرية، تولدت الحاجة لبحث تشكيل هذه التشفيرات وكيفية تحولها لصور بصرية. وتناول الباحثان في المقدمة مشكلة البحث، وهي: كيف تتم عملية التشفير الصوري والدلالي في العرض المسرحي؟ وتتبع اثراء العلامات وشفراتها لانتاج منظومه صورية متكاملة بدلالاتها ومداليلها لتمثل مرجعاً خصباً للتشفير الدلالي وقد اسسا الباحثان اطارا نظريا تضمن مبحثان هما: المبحث الاول(التشفير وانتاج الدلالات) والمبحث الثاني (التشفير الدلالي في التجارب الاخراجية), ثم استقى الباحثان مجموعة مؤشرات تم اعتمادها في تحليل عينة البحث، وهي (مجموعة من النصوص تم ادخالها في نص واحد وتم عرضها في المسرح بطريقة المسرح الأسود)، على وفق المنهج الوصفي، وبعدها توصل الباحثان الى مجموعة نتائج منها: (اسهمت الايماءة والصوت والحركة في جعل الدوال اداةً فاعلة في تشكيل الصورة البصرية المشفرة، والتي انتجت انتشاراً دلالياً في العرض المسرحية), ثم قائمة المصادر وملخص باللغة الانكليزية.
سها علي حسين, هويدة إسماعيل إبراهيم, Journal of Physical Education, 2017 - Cited by 1
ST Alawi, NA Mustafa, Al-Mustansiriyah Journal of Science, 2013
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