Make-up as a space of semiotic communication

Abstract

The purpose of the article is to study the peculiarities of semiotic communication in make-up art. The methodology. New methodological principles of make-up training, which are based on the intersection of cultural and art history approaches, will be proposed. Particular attention is paid to the semiotic study of make-up. The results. Having studied the construction and functioning of make-up as a symbolic system, it has been proven that make-up art has a complex structure of semiotic communication. It can be traced in its symbolic units (color, line, etc.) and their interaction, as well as in the multi-layered structure of reference and recipient, which is most vividly reflected in theatrical make-up. Thus, the space of semiotic communication of playing can be considered in two main vectors: 1) communication between signs and symbolic structures in the space of the make-up scheme; 2) communications between signs composing the semiotic space of makeup from the external environment. Therefore, to solve the problems of semiotic communication of make-up art, sufficient attention should be paid both to the detailed processing of make-up schemes and the question of authorship in the context of dialogue, the multiplicity of interpretations, contexts and meanings. The scientific novelty. Along with studies of the semiotics of the theatre, a separate direction of research is proposed — the semiotics of make-up. This will provide new opportunities for researchers and experts in the context of the semiotic understanding of culture and make-up art in general. The practical significance. The results of the research can be used in the scientific, creative and pedagogical activities of specialized educational institutions, as well as by directors-producers of performances, theatrical programs, actors and make-up artists involved in these productions to solve theoretical and practical tasks.