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المرجع المحلي واليات التغريب في العرض المسرحي العراقي == The Local Reference And The Mechanisms of Alienating In The Iraqi Theatrical Performance
Author name:
سهى طه سالم
Supervisor name:
عقيل مهدي يوسف
General topic:
Fine Arts
Specific topic:
Theatrical Arts - Directing and Acting
Degree:
Doctorate
University:
University of Baghdad
Language:
Arabic
University location:
Baghdad
First pages:
18T732 - p.pdf
Abstract:
At the begging the subject of analysis should be determined and the intended thing should be marked when talking about the reference and its multiple discourse mechanisms. The connection between determinants and frames, though it the real elements in life and sup positive elements in the art of theatre may be caught, is a connection may be clarified by the theatrical sender that, in its allegorical root, consists of tales, stories, myths, and heritage through the most complicated theatrical senders as plot and theatricalizaing. The juxtaposition to understand theatre should be based on multiple uses “word and image", indeed one of its juxtapositions is the complication of word and image as to simulation and trace. As soon as we determine the subject of analysis from its multiple paths, we may study implications of reference in all that related multitude, then we may study the primary reserves that required by the research and the expectations appeared by it, and the context of their appearance and disappearance. So, the different functions of analysis for such a complex and interrelated system should be considered. Studding a theatrical phenomenon in certain place and time "as Iraqi theater" is not free acquainting all its details at the level of historical achievement or its joining with other world experiments by texuality adaptation and misrepresentation. Consequently, the research took multiple trends and re - reading the silent things "that means things which never dealt with " when some methodologies where confined to description and presentation. Such methodologies were external searching artistical and advertising careers for the people of theatre, but not for society of theatre. The analysis of Iraqi theatre and its reference roots may make researchers and the people concerned with theatre able to deal with the most important centers and focuses from which theatre starts, when they are chasedand their forms will be known. Any review for he history of Iraqi theatre will guide us to some probes for its creation formation. Based on this trend, the present research is determined on the preference priorities for local an inherited tales, stories and strange stories born from the momb of Iraqi life after series of wars and structural shocks that had hit its social joints and what followed after them as events and strange things. So, theatre should alienate itself from the traditional methodology that formed its image, way and trends across years. Such an action took a wide area of the research. In addition to focusing on some related topics that most specialized like textuality and intertextuality in Iraqi play - writing. It is worthwhile that studying theatre requires awareness of this phenomenon and to get rid of the crowd of reading subjective experience and to deal with methodologies that awaken by some contemporary reading. The research consists of four chapters as follow : The first chapter : included the problem of the research and its importance, aims, determinants and determine the most important terms. The second chapter : based on the theoretical frame including four parts as follow : The first part : The dilemma of reference between realty and imagined. The allegorical delusion in the theatre. The pictorial imagination in the theatre. : The reference sources for the theatre : The second part A : Myth. B : The trends of Myth. C : The Myths of natural phenomena. The source of popular theatre “folklore” The kinds of power tales. : The third part „1? Alienating 2 - Formalism and alienating The mechanisms of alienating in Iraqi theatrical performance A. The elements of alienating in the theatrical performance. B. Alienating and receiving in theatre. C. Towards juxtapositioning of dilemma in theatrical reception. D. The role of audience in theatrical alienating. E. The epic theatre : change instead of catharsis. F. Theatre of cruelty : the spectator?s body is pivot of reception. G. The poor theatre : the spectator is base of theatricalizing. : visible and invisible in the The fourth partmanifestations of Iraqi theatre; a. The local reference in Iraqi theatre. b. Tale and mythical reference. c. The path of foundation. d. The references of modern Iraqi theatre. e. The political reference in Iraqi theatre. f. Calling the popular reality and observing it. g. The experiments of modernism in Iraqi theatre. h. The theatre of eighties, the real and experimental theatre. i. The militarilisation of theatre The Iraqi theatre between the shaking of historcal structure and the factors of change. : is a procedural and applied The third chapterattempt dealing with five samples “plays” as follow : 1 - The Shadows 2 - The dew of rain3 - Face Book 4 - The rival of roses 5 - Al - Hussein now : included the findings and The fourth chapterconclusions reached by the researcher through her analysis relating to the aim of the research, in addition, the chapter included a list of references and sources, and abstract in English.
