البحث — المستودع الرقمي العراقي

نتائج البحث: 6 من أصل 6

سيمياء اداء الممثل في العرض المسرحي المونودرامي == Performance of Actor In monodrama tic vaudeville

اسم المؤلف: سامي محسن حسن الحصناوي

اسم المشرف: عبود حسن عبود المهنا

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - اخراج وتمثيل

الدرجة: دكتوراه

الجامعة: جامعة بابل - كلية الفنون الجميلة - قسم الفنون المسرحية

اللغة: العربية

مكان الجامعة: بابل

الصفحات الاولى:

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.

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:

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.

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

واقع الموسيقى والغناء في عروض مسرح الطفل العراقي المعاصر == The reality of music and singing in the Children's Theater offers contemporary Iraqi

اسم المؤلف: عدنان خلف ساهي

اسم المشرف: طارق عبد الكاظم العذاري | صالح احمد الفهداوي

الموضوع العام: الفنون الجميلة

السنة: 2009

الموضوع الدقيق: الفنون المسرحية - اخراج وتمثيل

الدرجة: ماجستير

الجامعة: جامعة البصرة - كلية الفنون الجميلة - قسم الفنون المسرحية

اللغة: العربية

مكان الجامعة: البصرة

الصفحات الاولى: