اشكالية الحضور والغياب للرمز في خطاب العرض المسرحي العراقي == The Problematic of Symbol'S Presence & Absence In Iraqi Theatrical Discourse
Author name:
ماهر عبد الجبار ابراهيم الكتيباني
Supervisor name:
مصطفى تركي السالم
General topic:
Fine Arts
Specific topic:
Theatrical Arts - Directing and Acting
Degree:
Doctorate
University:
University of Baghdad
Language:
Arabic
University location:
Baghdad
First pages:
18T943 - p.pdf
Abstract:
شغل مفهوم الحضور والغياب جانبا من التفكير الانساني، عبر تجسير العلاقة التي تشكل معادلة الوجود، الذات،الاخر، بوصفها تمثلت في ثنائيات تراوحت بين ما هو حسي ظاهر، وما هو ذهني غائب، ومن خلال ذلك توافر المعنى، على وفق صيغ اتفاقية تمثل (الحضور) او من خلال تساؤلا | The aspect of Absence & Presence occupied a wide space of Human Thinking via simulating the relationship that formulate the Existence Equation, The Echo and The Other since they were represented in the duality limited between the apparent sense and the metaphysical to mind, through the presence of sense, according to the agreements of (Presence) or through questions and meditations in the universe and its appearances (Absent), that motivated to find justifications, via linking them with supreme absent energies which initiate the Mythological Thinking, that was reflected on life of man, as resident symbol, embedded the signs that represent Thought, which extracted forms and images of human vision for Presence & Absence, whereas, the philosophic thought went far to the horizon of variant vision of the Presence & Absent, assuming that the symbolizations of the example put the the absent in prior position, and the spiritual presence made the available present in the sense and material as secondary symbol, which resulted the discourse problematic upon the quality of this assumption; yet, the conscious philosophy drew that absence from total metal imaginations, to be represented the reality of the area in the man echo, both philosophic assumptions were achieved in the symbol, the main column of that symbol, accompanied by man relationship with universe, which interface with life aspects, with culture, with psychology, with art, with language, with theatre as a system of symbols among their material presence and represent the value of their limitation for its present class, that assume a justification via the other absent class that care with the differentiation and the replacement as basic core recalled absent by its deep structure which makes the absent and presence in problematic which center is a need of each other to be exposed to each other, neither presence present posses the priority or centralization not the absent, yet, its sense comes according to context. We find that this was jointly posed in the staging discourse, through the attempt of directors to draw the symbols that emphasis its effects on the their staging systems as far as presence & absence and as emphasis on their symbolization, in a form constitutes the abundance of the sense, which was explored by the visual and acoustic systems that form its discourse by assuming its ability to establish the presence and produce the absent sign. Therefore, thesis titled (The Problematic of Symbol's Presence & Absence in Iraqi Theatrical Discourse) came into being to determine the paths of the researcher in four chapters, as follow : Chapter One : the Syllabus frame which include the problem of the research that was formed as follow : Are the symbolism system creating in staging sign abundance work on more readings that makes the absence & presence in the problematic that its column in need of each other to be exposed to each other? Also syllabus frame included the importance aims and limits and definition of problematic terms and discourse. the Second Chapter : it included the theoretical frame that came into three parts as follow : The First Part : The Presence & Absence of Philosophic Thought The Second Part : The Symbol between The Presence & AbsenceThe Third Part : The variety of The Presence & Absence for the symbol in the contemporary directing tendencies The researcher concluded with the below indicators for the theoretical frame : 1. The symbol formed an alarm that motivated the memory, in a form higher than reality, and in a manner gave imaginary reality, it may be done through imagination and remembering, recalling the absent sense of the symbol, which acquire its signs via acoustic display system and visual staging where part occupied the all in continues unit in absence and presence. 2. The actor is the most important element of staging discourse, the presence of actor life in his / her past and present that motivated him or her to seek what enable him or her to understand overall or single memory in unconsciousness and dream world, to transfer the possible and the probable into assumption world, that would be clear through his / her voice and nodding and body motion when his level of the spelling of the visual nodding retroactive that explain the absent sense through the visual action, according to the context of non verbal communication. The Third Chapter : it included the procedures frame related to determine and limit the sample of the research, by choosing and analyzing the sample, it consisted of the following proposals : 1. Herostrat, Directed by : Fadhel Khalil 2. The Heart Apple, Directed by : Riyadh Shaheed 3. Women at War, Directed by : Kadhum Nassar 4. Laurca Women, Directed by : Awatif Naeem 5. The Shoemaker, Directed by : Aqel Mahdi The Fourth Chapter : it included the discussion the results of the research, conclusions, suggestions and recommendations, as follow : 1. The aesthetic space was motivated at (Research Sample), activating them to the ability to be deducted through the translation, and interpretation, according to transference of the symbol between the Presence & Absence, the multiple of its irritate signs for the positive reaction as the imagination subject matter that would be present during the innovation and deduction. 2. The Acoustic and Visual Symbolism formed the staging structures and their real material, Skelton, motivation, and spelling if they were not external goal by themselves, rather they are serious necessity and real goal and changed from the marginal (Presence) into the spiritual exchange (Absence), that generated complex signs aspects and changeable according to dramatic action and the characters motion, and the distraction of thoughts and their reaction in one dramatic stream. Finally, the researcher listed the references, supplementary and English Abstract.
