البحث — المستودع الرقمي العراقي

نتائج البحث: 11 من أصل 11

عمل الممثل على نفسه لتنمية طاقته الادائية == The Work of The Representative of The Same Capacity For The Development of Performance

اسم المؤلف: فرح طه درويش

اسم المشرف: هيثم عبد الرزاق علي

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - اخراج وتمثيل

الدرجة: ماجستير

الجامعة: جامعة بغداد

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: ينقسم البحث الموسوم (عمل الممثل على نفسه لتنمية طاقته الادائية) الى اربعة فصول، تضمن الفصل الاول الاطار المنهجي للبحث من خلال مشكلة البحث والحاجة اليه واهميته، وهدفه، وحدوده، وختم تحديد المصطلحات ثم تلا ذلك الاطار النظري للبحث وقد تضمن ثلاثة مباحث : تناول | Its research is marked by the work of the Representative of the same capacity for the development of performance in to four chapters Containing the first systematic research of the problem through research and the need for it... And its importance Purpose of the character.... In conclusion, the identification of terms, and was followed by the theoretical framework of research has included three Investigation : addressing the topic Albailogi to attend the first dimension of the representation during the pre - approach Achtgalih clear disclosure of scientific and technical representative in accordance with the terms of reference Albailoger. Issued while the second topic, which came under the title the relationship between the numbers of self - monitoring and the role that changes in the subjective and objective representative, particularly in the behavioral and cultural dimensions in the organization had its mechanisms (mental psychosomatic) While the third topic in relation to levels of training Almcahdi structure to demarcate the border, the basic components that worked by the representative, particularly in the components (movement, body, rhythm, lighting, sound, music and sound allergen, dress, makeup, theatrical space), Thus Khalsp researcher to the theoretical framework of indicators, then came the third chapter of the research measures during the research community within the limited period of time from 1998 to 2008, and samples tested in search of my three representatives who are, respectively, (Aziz added, Naeem Iqbal, a leading Optimizer ), but a search researcher has used the descriptive approach in the analysis of samples and based on personal interview and tablets as tools for research Alsidiat , Baz came fourth quarter included the results of research and then discuss the proposals and then Altusilt Supplement : No. (1), which contained a list of entrants in the Duration of representatives 1998 - 2008 and Supplement No. (2), which included representatives of the illustrations in their presentations and then read out the play list of sources and references, abstract and then in English.

الاتجاهات الحديثة في تصميم المنظر المسرحي العراقي == A New Directions In Design The Theatrical View

اسم المؤلف: دريد هاشم شكور البياتي

اسم المشرف: عباس علي جعفر العبيدي

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - المنظر المسرحي

الدرجة: ماجستير

الجامعة: جامعة بغداد

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: ان التطور السريع الذي احاط العالم في هذين القرنين كان لابد اليه ان يؤثر في الفن المسرحي وعلى معطيات الثورة التكنولوجية والتقنية في المسرح ليولد اتجاهات مسرحية حديثة اتسعت في فضاءاتها وتنوعت في اساليبها في اعطاء الرؤية لانجاز جماعي والتي وفرت البيئة للمصمم | The fast development which care or happened in the world in the last years was to vhange or effects in the theater views and its born a new theater directions which effects the all hostery of theater.The imagination that should be composed with The nature of the reading the experience in the modern transfering the idea and the role practiced by the designing operation.This thesis eutitues four chapters.first chapter : In includes the methodical searching, the problem of the thesis and the most important of tee research by eulightening on employing the calio in the theatric view and the visual shape. second chapter : This chapter concluded the cadre visual and the pervious studies and the section of the fram visual to the four topics : the first topic (the stages of developing designing of atheatrical view), where is the function show.The seconfd topic contained two section : first the newlist and what after the new list in designer in the theater view. Seond the change of the designer in the theater view.The third topic (the new technological in the theater.Third chapter : In containcel the section of research as well as from the all search.presenting to the views which presents from the Ass.profs.Drs. in the Arts theatre section in the vollege pf Fine Arts university of Baghdad and I choose the some of these from 1980 - 2003 and the watching of a views, pectures and the personly metting which comtaind five view (the last sendebad dewiery, magbith, herostart and the night of barry im actor). Then comes the forth chapter which containd the result of reserch and the inclusion and the abstract of the thesis in english language

المعالجات الدرامية لشخصية الحسين في النص المسرحي العربي == Drama Treatment of Al - Hussien Personality In The Reading Arab Theat

اسم المؤلف: حميد لطيف مريوش الشريفي

اسم المشرف: عبد المرسل فليح الزيدي

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - ادب ونقد

الدرجة: ماجستير

الجامعة: جامعة بغداد

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: ان شخصية تاريخية مثل شخصية (الحسين بن علي) (ع) برفعة منزلتها ونهايتها الماساوية لابد ان ينعكس تاثيرها النفسي والاجتماعي والديني على الانسان والمسرح حيث مثلت الهاما للمؤمنين والاحرار في جميع ميادين الحياة وعلى مختلف مستوياتها وكان تاثير هذه الشخصية واضحا ج | The historical character like (Al - Hussein Bin Ali) with high dignity and tragic end, hispsychologic, social religious impact reflected on human and theater. He is a symbol of inspiration for faithful and independents people inall aspects of life. He is affected on literature specially theatrical literature.The Arab dramatis deal with this character in a dramatic ways from Karbala events taking from Islamic History.The chapter of Ali - Hussein share in the built of human though. The dramatist dranscript events and chapter in a technical form.This is show us the important of this chapter in the past and its impact in contect poraray human that makes us seek for this chapter and treated in the theater in a technical form.So we look for this character to acknowledge the dramatic feature of this character and the tenses that the Arab dramatist follow it.Therefore the research is divided in to foure parts : 1 - first part : methodical setting included problem and the important of research and the need of the research , the aims of the research, the borders of research.2 - The second part : theoretical setting included three researches : A - First research : the built of tragic character refers to the character in its general shape and its development and the tragic of researcher and different methods.B - second part : historical character : the researcher dealing with the understanding of the historical character in general way and the forms of these character and its important impact on our contemporary human and the utilizing from this character to creat moral worthy and social.c - Third research : dramatic treatment for historical character, the dramatist deals with the treatment of historical character in different tenses, it refers to the treatment of historical character by words and Arabs dramatists.The research tries to collect the different opinions for dramatists and researchers who deal with this subject to stand of the most important opinions about this research.3 - Third part : this part include the steps of research. The researcher counted the dramatic tenses that writing from the character of AL - HUSSAIN since 19131 - 2009 he chooses some sample from research and its three theatrical tenses : 1 - Abdul Rahman Al - Shaeqawi(AL - HUSSIAN MARTYR).2 - Mohammed Ali Al - khafaji(Al - Hussian return again).3 - Abdul Razaq Abid Al - Razaq(Al - Huee AL - Reyahi).4 - Fourth part : this includes the result of the research and discussion, conculion, recommendation and collateral in English language.

جماليات السينـوغرافـيا فــي العرض المسـرحي : نماذج من المسرح العراقي == The Aesthetics of Scenography For The Theatrical Performances

اسم المؤلف: جبار جودي جبار العبودي

اسم المشرف: محمد عبد الرحمن الجبوري

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - تقنيات

الدرجة: ماجستير

الجامعة: جامعة بغداد

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: في ظل انفتاح العالم على مختلف انواع العلوم والتكنلوجيا والمنجزات التقنية التي شكلت العصب الاساسي في الحياة المعاصرة بدات التجارب المسرحية بوصفها فنا يعكس انماطا شديدة الخصوصية، وعلى تماس مباشر باحاسيس ومشاعر المتفرجين، بدات هذه التجارب محاولات اللحاق | This research deals with the problem concerning the authority of the aesthetic elements in the scenogrphy for any play production and the ability to cause their effects in the final form of the stage pictures. The goal of the thesis is to define the aesthetics of scenography considering the dominating authority for the Iraqi theatrical productions and the role of the main factors in showing the images of the directors and the designers. In chapter two , the researcher reviews the resources dealing with the subjects. Section one of this chapter reveals and discusses the opinions of some scholars about the conception of scenography and the development of its implications through out the history of the theater. The researcher chooses the opinions of the three well - known play directors and designers - Adolf Apia , Robert Wilson , and Taduez Cantor. In section two of the chapter , the researcher discusses the aesthetics of scenography elements - the actor, the make - up, the costumes, the scenery , the accessories , and the theater building architecture. In chapter three , the researcher anal sizes the aesthetics of scenography of, three Iraqi play productions : The first is ( picnic ) adapted and directed by (Ahmed Hassan Mussa) , and ( Jabbar Juddi ) is the scenogerahper. The second is ( Cerfew ) written , directed , and scenogerahpy by ( Muhannad Hadi ). The third is ( The Blood Horse ) adapted ,directed and scenogerahpy by ( Jabbar Juddi ) , The text of this play was adapted from ( Macbeth ) of Shakespeare. In the fourth chapter the researcher discusses the results of his analysis and reaches the following conclusions : 1/ The theatrical performance depends a lot on the visual theater nowadays more than the others.2/ It is important to achieve the harmony between the visual , the auditory, the kinetic element and the dramatic element according to the vision of the director.3/ The aesthetics of scenography could be achieved only in well equipted stage.4/ The authority of scenography dominates the contemporary theatrical performances.5/ In order to achieve the aesthetics of scenography successfully it is necessary to manipulate the plastic elements.

المغايـرة في تجارب المخرجين المسرحيين الشباب في العراق 1990 - 2009 == Variant Directors, Playwrights In The Experiences of Young People In Iraq 1990 - 2009

اسم المؤلف: جبار محيبس مجيد

اسم المشرف: صلاح مهدي القصب

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - اخراج وتمثيل

الدرجة: ماجستير

الجامعة: جامعة بغداد

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

اليات التكامل بين دلالات الزي في العرض المسرحي العراقي (1990 - 2000)

اسم المؤلف: سرى جاسم خيون الساعدي

اسم المشرف: مصطفى تركي السالم

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - تقنيات

الدرجة: ماجستير

الجامعة: جامعة بغداد

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: The developments of societies throughout various periods have yielded many philosophies and ideas in dramatic arts for the historical extension. It is a language that surpasses all the local idioms to address the whole world. The development that the societies have witnessed in all stages has been reflected in the contents of drama in general to appear various trends and methods. That has been expanded with the expansion of the social, intellectual and aesthetic needs of society to be richer practices that were crystallize in the form of dramatic shows as groups and systems. Undoubtedly, the lingual and acoustic messages do not abolish the importance of visual aspects in transforming the dramatic message. All that exists on the stage are signs that have come to express an intentional delivery to form visual images such as (costume, décor, action, etc.). The ceniograph works as completely as signs that make these references whose temporary becoming on stage leaves for imaginative factors. Thus, the dramatic work becomes a net governed by the system of showing that achieves the integrated harmony between what is acoustic and what is visual, in which costume plays as one of the signal systems that communicate with other signs in different designed methods and styles within the accumulated organic sequences that communicate that completes the general effect of the show throughout the consequential doctrines. The production of costumes to connate more rich meanings, through the harmonious interrelated elements that form signal systems smaller in the general costumes (color, shape, lining, and crude) which have taken the effectiveness pf costume as one of the semantic signs along with other signs of show on the intellectual, artistic and aesthetic levels and within various courses. This mechanism has led to researcher to trace the semantic of costume throughout various periods, and how to relate them into the signs of show and determine the aesthetic function of costumes in order to achieve this integral mechanism. The study falls into five chapters : The first chapter (Methodological Framework) which included the problem, the needs for the study, objectives and its limits as, as well as determining the definition of terms adjectively. The second chapter tackled the theoretical framework of the study in five inquiries. The first inquiry dealt with the semantic information of costumes in two pivots : the first is about the composing elements of costumes as a mark of drama, while the second tackled the integration that indicates the structural relationship between costumes and dramatic show. The third inquiry was devoted to the semantic transformations of costumes in the light of the trends and visions in the dramatic shows. The fourth inquiry tackled the pervious studies the most important indications that resulted from the theorticval framework. The researcher devoted her third chapter for the procedures, methods, instrument and of the study, the analysis of three samples : the plays (Media), (Othello in Kitchen) and Macbeth. These samples are considered as distinguished oeuvres of drama. The chapter was concluded with a summary of the results that the researcher has come to. While the fourth chapter was devoted to the discussion of the results of the study according to the derivatives of the theoretical framework to deduct conclusions for the integral answers of the objectives of the study. In the light of the conclusions, the researcher formed the recommendations that enhances through the investment of the results and outcome sof the study, which is achieved in the middle of the field. Finally, the researcher presents what she finds suitable for suggestion in order to complete this study and giving its due interest. Then, it ended with a list of references and resources which she used, followed by the document and an abstract.I hope I was successful in my endeavors, God is the destination for all…

اشكالية التوازن الجمالي في العرض المسرحي العراقي == The Problematic of Aesthetic Balance In Iraqi Theatrical Performance

اسم المؤلف: حيدر مجيد كاظم الوداي

اسم المشرف: حسين علي كاظم التكمه جي

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - اخراج وتمثيل

الدرجة: ماجستير

الجامعة: جامعة بغداد

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: ان للتكـويـن اهميـة كبـيرة فـي العـرض المسـرحـي، فـي بناء الصـورة البصـريـة بوصفها قيمة جمالـية وفكـريـة تبـث الشفرات الدلالـية، ثـم ياتي اثر المتلقـي فـي استقبال تـلك الشفـرات وفـك رمـوزها الـدلالـية، ويعـد الـتوازن مـن اهـم عناصر الـتكويـن، فضلا | The composition is very important in the theatrical show specially in the visual image construction as a aesthetic and mental value exposing the semiotic codes then it comes the viewer part in receiving those codes and resolve its symbols, the balance considered as one of the most important features of the composition such as symmetry, rhythm, extensive, harmony and construct. The un balanced image in the play cause inconvenience feeling, the balance used in the theater field involved within the evolution steps of the theater the both formal and informal balance had been used before the realism, later with the appearance of the realism contrast the theatre managers that all the types of balance are not enough to solve the balance problems due to the variety in the form of the visual image, due to that they started to use the balance used in the plastic art collecting the one which can be useful the theater art, so the esthetic balance became useful in solving the balance problems in the theatrical show. Due to that the researcher reached the conclusion that it now necessary to use some of the balance types in other fields and ad justified them in the theater show and its balance.In addition to the above and threw the researcher experience find out that there is a connection between the balance in the theater and the balance in the economic science in the formalizing the image, for the standards mentioned above the map of the research will be : Chapter one : includes the method used in the study(the problem, aims, and terms. Chapter two : represent a review of literature and a theoretical frame work and formal studies helped the researcher to conclude some points used as standards for the procedures. Chapter three : this chapter devoted to the procedures of the study which can lead the researcher to analyze the samples of the theatrical shows according to a special form of the consequences of the theoretical work in chapter two, the work of this chapter stands on analyzing three plays as a sample : 1 - the bedewen and the oriental. 2 - krewlanece. 3 - gelgamesh.4 - noterdam lamp. 5 - sedra Chapter four : this chapter devoted to mention the results of this study according to the procedures followed in chapter three, which can be summarized as follows : 1 - the esthetic composition condition had been fulfilled almost all the plays. 2 - there is a balanced unity between the masses ,forms, surface and the volumes. 3 - there is a contrast balance presents in all the plays. 4 - the image in the play is stabile. 5 - most of the plays are masterwork. 6 - most of the plays used one or two type of balance for the image structure. The conclusions : 1 - there were no clear stylistic personality for the Iraqi theatrical director to deal with the balance showed in the play. 2 - balance is a creative procedure and one of the methods that lead the play to high standard. 3 - all the theatrical balance types known are not enough to cover and solve all the balance problems in the show.

الايقاع البصري في عروض المسرح العراقي

اسم المؤلف: ميادة مجيد امين الباجلان

اسم المشرف: قاسم مؤنس عزيز

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - تقنيات

الدرجة: ماجستير

الجامعة: جامعة بغداد

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

الاداء الصامت وعلاقته بالتكوين في العرض المسرحي

اسم المؤلف: اقبال نعيم سلمان

اسم المشرف: عبد المرسل فليح الزيدي

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - اخراج وتمثيل

الدرجة: دكتوراه

الجامعة: جامعة بغداد

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: الاداء الصامت هو ذلك الاداء الذي يمتلك القدرة في منح الدلالات التعبيرية والمعاني التي تجعل من اللامرئي مرئيا وموازيا للمنطوق ومكملا لنسيج الحدث الدرامي، ويتحدد من خلال الحامل الاول للعلامة، وهو جسد الممثل. فالاداء الصامت هو رسم الجسد في الفراغ، وبذ | Silent performance is the performance which has the capacity to present expressive connotations and meanings that turns the invisible into visible, comparable to the spoken and complementary to the fabric of the dramatic event, and it is determined by the first bearer of the sign which is the body of the actor. The silent performance draws the body in the space, thus, the actor becomes a scenographical performer who deals with spaces, sizes and distances, and turn them into emotions, ideas and concepts in order to portray the image of these indications as connotations and messages of contacting with the receiver. Silent performance is an openness to the untold to motivate the components of the dramatic show and create expressive semantic and aesthetic formations, and it is the art of creating an illusion in the space by organizing parts of the body through their relationships with each other, space and relationships cycle that surround them, furthermore, it is capable of enriching the energy of the actor to confirm his presence in the production of a remarkable and unfamiliar dramatic moment of performance in which the improvisation has an essential role to the self - placement and the creation of a thinking body. Therefore, this research aims at revealing the silent performance and its relationship with the composition in the Iraqi dramatic show and illustrating how the Iraqi actor and director deal with this performance by shedding the light on three Iraqi plays. However, this research consists of four chapters. The researcher in the First Chapter dealt with : problem of the research, the need for it, its importance and its objectives, then determining its terminologies and limits. The Second Chapter contains 3 sections, which formed its theoretical framework : First Section : Silent performance is an expressive and semantic element. Second Section : Professionalism of performance and its philosophical connotation. Third Section : Aesthetics of silent performance in the theatrical formation. Subsequently, the Chapter ends with the conclusions of the theoretical framework and previous studies. However, the Third Chapter contained the procedural framework and analysis of three Iraqi plays which are : 1.Sedra 2.Women of Lorca3.The Shadows4.Curfew5.The cobblerWhile the Fourth Chapter presented the results and their discussion according to the objectives, conclusions, recommendations, proposals, appendices and references

الماكياج والتعبير الدلالي في العرض المسرحي العراقي

اسم المؤلف: اخلاص فاضل احمد السامرائي

اسم المشرف: قاسم مؤنس عزيز

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - تقنيات

الدرجة: ماجستير

الجامعة: جامعة بغداد

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

التحولات الفنية لفن التنكر وتوظيفها في العرض المسرحي المعاصر == Arhcal Transformations In The Art of Disguise And Their Employment In The Modern Theratrical Show

اسم المؤلف: اسيل ليث احمد

اسم المشرف: عقيل مهدي يوسف

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - تقنيات

الدرجة: دكتوراه

الجامعة: جامعة بغداد

اللغة: العربية

مكان الجامعة: بغداد

الصفحات الاولى:

المستخلص: يعد فن التنكر من الفنون التي شكلت تطورا في الظاهرة الادائية على مدى قرون، فقد سعت الحضارات الى حفظ اشكالها المتنوعة على وفق المتغيرات الكبيرة في الظاهرة الانسانية، حيث تم استحضار اغلب المراحل الزمنية التاريخية وما تتطلبه من مهمات اساسية في عملية فهم الظو | Is the art of disguise of art that formed the advanced performance in the phenomenon over the centuries - has sought to preserve cultures and diverse forms according to the major changes in the phenomenon of humanity where most of the period evoke the historical time and the requirements of the core tasks in the process or understanding the phenomenon and facts. The art of disquise re - representation of these facts through the re - configure stuff legendary deeply ingrained in the human mind - as the astablishment of variuaies configurations of existence and gives it expressly based and symbolic - fitr is varied within the act of incarration that would restore image - building knowledge in the time ¬frame the spitil and gives a shift avariety of features exist. and apporoaching the characterization fora new and growing to alleveviate the world understand the sources and manifestations. And gives the art disguise tmzarath tathbera various psychological and realistic visual display on system whel"c the process of change and transition in the pattern of shadowy figure and the shift in the dimensions of various formations lead to, a significant shift in the system performance for display by the shifting course of the actions of the characters and the emergence of manifestions of various interernal and external, which is a shift in its conflicts and its behavior h< - ~s co buted to the art of denial to give a new personality traits thl"ough diffent Aejddalaskkal fit whit the n.llure of transition experieneed by the changing world of pt'ogressive consensus process created by the art of denial among the various configuration able to create visual effects and behavioral reactions varied. In order to monitor the historical developments art disguises Personal patterins type and components. Movement performance analog and different psychological behavior, Aidwakl affecting the personal representative and the nature of performance. Dynamic composition and physical synergy and a caustic. Concluded, then the theoretical frame work a researcher with a number of indicators which were considered an important tool for research as well as othe,' tools in the analysis of sample. The third chapter has devoted to the search procedures which have addressed the researcher community, and search tools method and reason for selecting the research sample~ then the researcher analyzed the research sample : First myth Zhou.Second Sidra. Third Othello Fourth Shose.Fifth scheherazde The forth chapter was contend on findings from research. fifth chapter contain the conclusions it ,has concluded a list of research sources and references in English language.