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الممثل واداء الشخصية بين المسرح الملحمي والمسرح الاحتفالي في العروض العراقية == Personal Representative and performance between the theater and epic theater gala : Comparative Study

اسم المؤلف: فاطمة رفعت حسين السعدي
اسم المشرف: زهير كاظم علوان
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون المسرحية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الكلمات الدلالية:
  • تمثيل
الصفحات الاولى:

اشكالية المطلق في النص المسرحي العراقي == Absolute Problematic In The Iraqi Theater Text

اسم المؤلف: هبة عمران نجم الشمري
اسم المشرف: احمد سلمان عطية
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون المسرحية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يعد موضوع المطلق من المواضيع التي شغلت بال الانسان قديما وحديثا، فهو من المواضيع التي توقف عندها الانسان منذ بداية تواجده على الارض، فمنذ ان فتح عينية في هذا العالم حاول جديا ان يفسر الظواهر الطبيعية وما يعتريها من اشكال وصور والغاز، بعدها اخذ يكتشف | This research included (absolute problematic in the Iraqi theater text) four chapters : The first chapter (methodological framework of the research), the research problem which Balastfham follows : What is the absolute problematic in the Iraqi theater text? While importance of current research demonstrated by highlighting the theme of absolute, as the study of this concept is an important pillar for the detection of the creative process and know Khvayaha, as well as being accomplishing cognitive benefit college students and fine arts institutes in addition to working in the theater and critique interested. The limits of the research was confined to the scripts Iraqi started between the year (2001 AD - 2010 AD), and concluded chapter identifies some of the terms contained in the title search.The second chapter (theoretical framework) has included three sections : Me first study of the concept of absolute religions and includes two axes : the first study the concept of absolute religious position, has been chosen both religion (Zoroastrianism - Hinduism - Buddhism). The second axis within a monotheistic religions (Judaism - Christianity - Islamic). The second part has me study the concept of absolute philosophical. And some have been selected philosophers and opinions on but not limited to : (Thales - Anksyma_s - Anksamenderas - Pythagoras - Parmenides - Plato - Aristotle - Hegel - was - Schopenhauer - Nietzsche). With me the third research study of the concept of absolute in the theatrical version also included the first two axes : Worldwide : (Greek - Roman - Middle Ages - Renaissance - neoclassical - Romance - realism - natural - Avatar - Expressionism - existentialism - the absurd (tampering)). Second : Arab World : (Tawfiq al - Hakim - Salah Abdel Sabour - Saadallah news - Meliani Hassan). We have concluded this chapter the most important indicators to which each theoretical framework, either previous studies have found a researcher only one study a doctoral thesis titled (absolute problematic in modern painting), Dr. (Luxury Mohammed Hassan al - Rubaie).The third chapter goal on (research procedures) and included the research community consisting of (20) Text theatrical Iraqis started between the year (2001 - 2010 AD), and selected (4) texts to represent a sample search as intentionality according reasons, plays are : (runway, the bridge to the imams, brutal ritual, Mnakan), and researcher pursued (descriptive and analytical) in the analysis of samples.The fourth chapter : annexation of the most important results, including : 1. Embodies the concept of absolute protagonist (runway) (Abdul Hussein Mahuad) as follows : (God), (self), (abundance and diversity), (the will of life), (Destiny), (mind).2. Represents the concept of absolute protagonist (the bridge to the Imams (l) Falah Shaker) as follows : (God), (article), (the will of life), (the will power), (Destiny).Then the researcher reached inter conclusions demonstrated through what emerged from the results, and also came with some recommendations and made some suggestions which I found important to complete aspects of the research, the researcher concluded Find a list of sources and supplements and a abstract in English.

التحريض في الخطاب المسرحي العراقي == Instigation In The Iraqi Theatrical Discourse

اسم المؤلف: حسين رضا حسين
اسم المشرف: يوسف رشيد جبر
الموضوع العام: الفنون الجميلة
السنة: 2013
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: لقد كان التحريض وما يزال احد الوظائف الاصيلة في التجربة البشرية كما هي في الدراما باعتبارها اداة للتغيير بكشفها عن الزوايا المظلمة في هذه التجربة على مختلف انواعها ومسمياتها واضاءتها، وذلك بالتحريض عليها ورفضها والدعوة لتبني موقفا انسانيا جديدا. وينطوي ال | Instigation has been one of the genuine functions in human experience as well as in drama. this is because it is a tool to discover the dark spot in this experience on its various types names and lighting. By instigation we mean alert and continuous stimulus and by active wishes that intentionally in deep structure of theatrical experience to show a meaning respond to human values. for this reason we find that it's important to explore instigation, in theatrical discourse. this research contain four chapters. The first chapter included the frame approach on research in which we discuss instigation in Iraqi drama as it as an active sign to enrich the structure of the speech so the researcher limits the problem of his research which is to follow the important of instigation in the Iraqi theatrical discourse. this chapter also contains the important of the research and its aim and limits. And reflected the importance of research in approaching the concept of instigation, and effectiveness within the paths of the Iraqi theatrical discourse. The 2nd chapter has three aims. the 1st studied the concept of instigation as it is an active corner in human experience and so in the movement of existence , in addition to its activity in universal theatrical discourse. the 3rd studied instigation in the Arab and Iraqi theatrical discourse. then it comes to the end to show the indicators which were generated by the theatrical frame work and previous studies. The 3rd chapter studies the research procedures, which included the research community and appointed by the researcher selected randomly to comply with the object and purpose of the search. The researcher adopted the descriptive method as an approach to analyise the research. The 4th chapter included the following result; 1. Incitement is embodied in the form of discourse as in (countdown to Macbeth), while aimed Doctor (Mikdv) crown on the head (Macbeth). At the scene of writing the petition (rehearsal in hell). 2.The instigation can be seen clearly and directly in the play" Rehearsal in the hell" and it is codded for the 2nd time in countdown for Macbeth. Then the researcher present the results conclusions recommendation add bibliography.

جماليات تحولات المنظر في عروض المونودراما العراقية == The Aesthetics of Scene Transformations At Iraqi'S Monodrama Plays

اسم المؤلف: فرزدق قاسم كاظم عبد الله
اسم المشرف: محمد عبد الرحمن الجبوري
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: شكلت عناصر بنية التشكيل الجمالي لتصميم المنظر المسرحي في عروض المونودراما نقطة ارتكاز مهمه في بيان صياغة تحولاته التي تفرض سيطرتها على المتلقي، مما يدفع به الى ان يتفاعل معها ليستقرا دلالاتها وفق دائرة الاحداث والتي تاخذه بعيدا في عوالم الروح الامتناهيه ح | The sequences of elements of scene structure transformations at the monodrama plays play an important role to demonstrate its aesthetics that impose its control upon the audience, which push them to react with these transformations to recall their signs in accordance to the events and take them so far to infinite soul worlds, where sensitive and ideological enjoyment are generated; thus, this thesis titles (The Aesthetics of Scene Changes at Iraqi Melodrama Shows) came into being. The researcher determined its scientific paths at four chapters. They are : The First Chapter : it included the syllabus framework and contained the problem of the research and its need. The problem is determined by the following question : How did the designer deal with the Play Structure Elements changes of the scene till showing them to the aesthetic reading at the melodrama play? The activating the aesthetic of play scene form structure elements via their changes during the melodrama play leads to enrich the mental and sensitive realization of the audience; as there is no similar study specialized in this theme, the need for this study raised. It also contained the importance, aims, limits and terminology (Aesthetic - transformations - Play Scene - Monodrama). The Second Chapter : its included the theoretical framework that contained four parts. They are : a - Part One : The Aesthetic Concept at The Western Philosophy.b - Part Second : The Scene at the Modern Play Trends c - Part Third : The Scene transformations and their signs at the Play. d - Part Four : Elements Visual Occupation at the Monodrama Play. This chapter contained as well a list of previous studies that dealt with monodrama as main theme, such as : 1 - Hussein Ali Haref’s Study (The Technical Features of Monodrama). It as a literary study related to the melodramatic text. 2 - Nuha Abbas Jawad Sheweleiah’s study (Alienation at Iraqi Monodramatic text). She interested with Alienation concept at the monodramatic text. Then she reached the indications that resulted from theoretical framework. These indications are : a) The elements of aesthetic form structure of the play and its features of the audience sensitive reactions and motivate them to react to recall its expressive signs that grant them metal and sensitive enjoyment. b) The mechanism of aesthetic scene transformations move into two directions; the first : Iconic Aesthetic transformations and The second : Symbolic Aesthetic transformations. The Third Chapter : it represented the Methodology Framework. It contained the community, syllabus, tools and methods of selection and analyzing the samples of the research. The sample contained the following plays : 1. (The Hunchback) monodrama, the scene is designed by Falah Ibrahim 2. (Achilles Return) monodrama, the scene is designed by Emad Mohammed 3. (I at the dark research) monodrama, the scene is designed by Awatif Naem4. (The Gone Days) monodrama, the scene is designed by Sami Al Hesnawi5. (Alienation) monodrama, the scene is designed by Suhail Al Bayati. The Fourth Chapter : it included the results, discussions, conclusions and suggestions. The most important results are : 1 - The designer achieved the ideological aesthetic reading of the monodramatic scene in accordance to structure form elements transformations within the limits of the symbolic level at the monodrama plays (the samples analysis).2 - The designer sought to use slight raw materials to build the scene order to enable the actor to change its aesthetic particulars in harmony with the events during the play as is the case with (The Gone Days) and (the Hunchback). Finally, the researcher fixed a list of references, supplements and this English Abstract.

صيغ الاداء التمثيلي في المسرح العراقي المعاصر == Forms of Acting Performance In The Modern Iraqi Theatre

اسم المؤلف: وسام خضر موسى
اسم المشرف: هيثم عبد الرزاق علي
الموضوع العام: الفنون الجميلة
السنة: 2013
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: عالميا شغل الاداء التمثيلي مساحة واسعة من اهتمام المنظرين المسرحيين طوال القرن العشرين في اوروبا وامريكا، ودول العالم المتقدمة. اذ ارتبط بمنظومة العصر وطروحاتها الفلسفية منذ ظهور الممثل لاول مرة. فضلا عن الافكار المنتجة له فكان ينحو نحو هذه الافكار ويسا | Universally , the acting performance was the main concern of the dramatists in Europ , America, and world advanced countries in the 20th century. It has been related to the system of the era and its philosophical theses since the appearance of the first actor. This relation was part and parcel of the cultural demands of the societies and the essence of their existence.As far as Iraq is concerned, this global influence was evident of the Iraq academicians and actors, particularly those who studied in Europ and America. Therefore, the research question is : Was the Iraqi theatre able to shape its acting performance from the system of its age or from the ready - made styles it got from outside? The thesis includes four chapters. 1. Chapter One ( Methodical framework )a - The problem of the study b - The importance of the study c - The aim of the study d - Limits of the study. Place limits which included two groups of actors from Baghdad , the capital of Iraq : Academic actors who studied global procedures and styles and conveyed them to Iraq. As far as time limits are concerned , the researcher selected actors representing different periods of time. Finally , the objective limits included forms of the acting performance in the modern Iraqi theatre.e - Key terms : the researcher specified the following terms : Forms , performance , modernity.2. Chapter Two (Theoretical framework) a - Section one (the philosophy of the age and its relation to the styles of acting performance)It tackled the Greek, Roman and the Medieval age , as well as Renaissance Delarty comedy, and the Enlightenment age. b - Section two (the actor and its relation to the style of acting performance in the world theatre). It included theorists of the theatric shows whose theories influenced the philosophy of the age such as Stanislavsky, Myerhold, Grotovesky, Brecht, and Peter Brooch. Each of these prominent figures worked separately in the relationship between the form of the performance and the philosophy of the age from different angles.c - Section three (Designing acting performance in the modern Iraqi theatre) It included the Iraqi producers who studied global methods and styles of acting and conveyed them to the Iraqi theatre according to their own experience and views like.Jasim Al aboudi, Ibrahim jalal, Badri Hasoon Farid, Qasim Mohammed, Awni Karoumi, Salah al Qasab, and Fadil Khalil.This section also included the most influential effects of the theoretical framework.3. Chapter three. It included the research procedures , samples , methodology , tools ,and analysis. The selected test - subjects actors are : 1. Khalil Shawqi, 2.Sami Abdul Hamid, 3.Yousif Al ani, 4..Sami Qaftan 4.Chapter four. It included the results of the study, discussions, and conclusions, the most important of which is that mixing performance techniques acquired from the environment with the academic training was one of the necessities of the modern age to adapt the imported form with the original local content. Finally the study states recommendations, suggestions, and lists of references, appendices and the Arabic abstract.

التكامل الدلالي بين المؤثرات السمعية والبصرية في مسرح الطفل == Semantic Integration Between Visual And Audio Effects In Children'S Theater

اسم المؤلف: ناجد جباري علي الربيعي
اسم المشرف: مصطفى تركي السالم
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: Depends Children's Theatre on the influences that make up language play tag through two systems audio and video to contribute in pulling attention of the child for display through the delivery of items that mimic Madrkath mental which they can check means educational, social and cultural rights of children, and as they play effects of a prominent role in the theatrical presentation directed the child being element interesting that enriches thinking and imagination and breed has fun in the follow - up offer, this sought researcher to monitor these effects as signs refer to references leave becoming a Wares on stage, to refer to the factors imagined settle apprehensive in the mind of the recipient, and it becomes theatrical work network governed display system that achieves integrated lines between what is and what is audiovisual. This eating in his first season (methodological framework), which included the research problem and the need for and importance of the research objectives and the limits of search, and definition of the terms and procedurally defined. While eating in his class II (theoretical framework), which included three sections, taking first, the system audio and video in the Children's Theatre, which revolves around two axes, the first for the system audio, either second axis has search in the system optics, the researcher on the division (Tadeusz Kavzan ) in tracking display elements across two axes first represents what the representative and the second represents what is outside Representative, The second section handled construction rhythmic and importance semantic and aesthetic offers children's theater and revolves around two axes also the first study building rhythmic and importance semantic and aesthetic in the system audio, either second axis has He studied construction rhythmic and importance semantic and aesthetic in the system visual, and devoted the third section to address shifts elements of audio - visual in children's theater and revolves around two axes first represents elements of audio, either second axis is a visual elements, also addressed the topic most prominent indicators resulting from the theoretical framework. And devoted researcher Chapter III of the research procedures, methodology, tools and analysis specimens seven : the play (Flying Fox), and play (access), and play (world vitamins), and play (wolf fake), and play (story pearlmissing), and play (sky color), The play (advanced Jackal), and these models is, of distinguished theatrical works within the limits of the search, and seal chapter, presented a summary of the results reached by the researcher through the analysis of samples. While included chapter IV to discuss the results of the search, according to what created by the theoretical framework of indicators, to devise such conclusions that represent answers complementary research objectives, and in the light of these findings, coined researcher recommendations reinforcing through investment results and conclusions of the research, and achieves a range of influence in the middle and arena, and finally the researcher what he deems appropriate proposals completed this study, and give the subject the attention it deserves, then your search is over a list of sources and references used by the researcher, and attached some documents relating to research, and a summary of the research. Finally, I hope that I have managed in Msai, and God of the intent behind...

اشتغالات التابو في النص المسرحي العراقي

اسم المؤلف: نورس عادل هادي
اسم المشرف: يوسف رشيد جبر
الموضوع العام: الفنون الجميلة
السنة: 2013
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يعد التابو احد اهم المفاهيم المهيمنة في بنية العمل الفني ولاسيما النص المسرحي بوصفه اشتغالا على ثنائيــــــــة الوعي والوجود بمجمل تحولاته وافرازاته التي تؤثر في تشكل الخطاب الدرامي وبالتالي تنوعه في الرؤى والاساليب بحسب المعطيات الفكرية والجماليــــــة | Taboo Presents one of the most important influencing concepts in the structure of the art work , especially in the theatrical text because it works on the duality of consciousness and existence in all its alternative aspects and discharges which affect in forming the dramatic rhetoric in consequence its variety in visions and styles according to the intellectual and beauty findings which arose from them the culture of individual and society. From that above crystallized the specialty of the research in its chapters , where it implied four chapters : The first chapter : - Which dealt with methodical frame which includes studying the implications of Taboo as influencing concept for the whole social, economic and political transformations and their reflection and influence in the behavior action of the individual within the social system specially the conflicts the Iraqi society confronted in the Iraqi theatrical text for the period between ( 1990 - 2000 ) which led to disturb the individual behavior Forms and exceeding the virtual order limits as a collector of the taboo concept in its different forms. The second chapter : - Which dealt with establishing and following the taboo concept through the human consciousness system along its intellectual periodical differences. Also in the researcher discussed the way in following the Taboo concept between the philosophy of beauty and science. In addition to that the researcher pointed out the most important implications of Taboo as procedure term its influences had reflected in the structure of the theatrical text.The third chapter : - implied the research Procedures. Where the research was limited as a whole in the published Iraqi theatrical texts in the 1990's where the researcher refuted to the intentional way in selecting the sample of its research. The forth chapter : - the final chapter dealt with the research results , conclusions and the list of references.

انعكاس ثقافة المجتمع على اداء الممثل العراقي == A Reflection of The Culture of The Community On The Performance of Iraqi Acter

اسم المؤلف: سعد فاخر شبوط
اسم المشرف: راسل كاظم عودة
الموضوع العام: الفنون الجميلة
السنة: 2013
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: As the diversity of the phenomenon of cosmic manifests itself in the world of nature , and because of this diversity of manifestations of creation major , so culture is a necessity in the renaissance of peoples so that you see human life at every level , including social, economic, political , and religious and cultural heritage , it must be multiple in both life and concepts , systems and traditions , and people's habits , and actor as one of the pillars of cultural , this research answers the following question : how the reflection of the culture of the community on the performance of the Iraqi theater actor , has included research on four chapters : Chapter I : methodological framework , which consists of : ( a search problem , its importance, and its goal, and the limits of the search, and determine the terms ). The second chapter has dealt with the theoretical framework , the research has been divided into three sections are : The first section : the concept of culture : in which he addressed to the concept of researcher Culture and Taalgah with society and the environment The second section : ( the art of acting and performance references ) : in which the researcher tracking the art of acting wath references the culture Section III : ( cultural component and the actor 's performance in theatrical trends ) : In this section the researcher reflections on culture trends plays , on the performance of the actor. The third chapter : dealt with the search procedures , has been divided into five sections : ( search procedures , and society, and the research sample , method , and the search tool ). The research sample was represented by five Iraqi theater has offered since 2003 to 2013 The fourth chapter : was the search results and the conclusions and recommendations and proposals. The research concluded with a list of sources and references , and a ABSTRACT in English

اشتغالات المنظر في العرض المسرحي العراقي (عباس علي جعفر) انموذجا == Astgalat Scene In The Iraqi Theater (Abbas Ali Jaafar) Model

اسم المؤلف: مزاحم خضير حسين الجبوري
اسم المشرف: محمد عبد الرحمن الجبوري
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: ان اشتغالات المنظر في العرض المسرحي قد اكتسبت دلالات مختلفة مرت بها الية تصميم المنظر المسرحي على الخشبة، اذ انطلقت فيها الممارسات التصميمية للمصمم عباس علي جعفر بين مساحات الخيال والابتكار وبين مساحات الواقع لخلق توافقية تنسجم مع المضامين الفكرية والجمال | The Achtgalat scene in the play have gained different connotations passed out mechanism design theorist theatrical on stage, as it was launched by the practices of design for the designer Abbas Ali Jaafar between the spaces of imagination and innovation, between spaces reality to create a consensus consistent with the implications of intellectual and aesthetic display of theatrical, as the researcher of mechanism functioning of the scene when the designer Abbas Ali Jaafar as artistic interpretation and aesthetic and technique for the delivery of the subject in an integrated manner to the recipient, as a researcher wanted to reach through the problem discussed stand on the experience of the designer Abbas Ali Jaafar and the resulting interaction is based on mixing and homogenization techniques theater The research includes four chapters : - Chapter I : - methodological framework for the search, which includes the research problem and the need for and importance of research and research objectives and its borders and determine the terms, since emerged the importance of research and focused on one of the means of expression in the theater, a recognition Achtgalat scene in the play, but needed it to identify experience designer Abbas Ali Jaafar in the Iraqi theater, and that this study will benefit all students and workers in the fields of art in general and theater in particular, and can be generalized to the modern curriculum in the future The researcher identified the limits of his research, a temporal boundaries of the presentations since 1980 and even in 2010 theaters Baghdad The objective is the border with Iraq plays Elachtgalat scenic developed and owns Mkhil high design, and conclude chapter defines the terminology (of operation, parallax) The second chapter : - has included the theoretical framework and previous studies, which included five sections and are as follows : - The first topic : the foundations of design theorist theater, which make up the landscape theater, which is employed by the designer in order to give a theatrical work recipe beauty during harmonies and contrast in the organization of the desired shape, with me the second part, which consisted of two axes, the first axis : - parallax between the designer and the director , as it was the opening salvo in an approach to the understanding of the landscape between the vision and directorial vision that convey design ideas and connotations contained in theater The third topic : - handled the theatrical landscape and trends and how to adopt each director and designer in shaping the play according to the direction that meets the aspirations of art The fourth topic : - Astgalat scene in the play, as it ensures designers to eat this or that direction through the incarnation and the manner in theater to achieve the desired effect in the theatrical landscape Section V : - Abbas Ali Jaafar and dealing with the elements of the play, which dealt with the researcher stand on the biography of the artist Abbas Ali Jaafar by Maaktsabh of expertise in the study phase and the phases that followed and stand on artistic experience through the implementation and design of the landscape in the Iraqi theater and evolution in the theater and the subsequent general evolution of the view in a private theater and experiences gained by Iraqi artists through their studies outside Iraq It also included this chapter on the most important indicators that resulted from the theoretical framework and previous studies Chapter III : - contained research procedures, containing : 1 - the research community, which consists of theatrical performances presented on the stages of Baghdad, for the period from 1980 to 2010, and the research sample, containing the three samples have been selected in a deliberate namely : - King Lear, b - Goat Island, c - Macbeth 3 - the search tool relied on as indicators resulting from the theoretical framework, and Manscher in media 0.4 - Research Methodology : adopted as a researcher on the descriptive approach (analytical) in the review samples Chapter IV : - consisted of the results and discussion, as the researcher to some results of the analysis of samples, including : - 1 - The recruitment and Achtgalat landscape designer with Abbas Ali Jaafar shows through diversity places with theatrical presentation of an exhibition hall to the traditional circular theater to theater in the open air, and so by employing various spaces in order to conform with the requirements of theatrical text 2 - The Iraqi experiences with designers and directors Iraqis was able to form the new features of the generated forms and bodies reflect the aesthetic philosophy to produce movement visible through the scenic formations and deal with them Representative to paint a visual image to express instead of dialogue 3 - The Achtgalat scene in the play came through visions compatibility between the director and the designer, which gave room for a multiplicity of visions and multiple interpretations which indicates good experience in the capture, interpretation and analysis of successive images in the play in shaping the image of the future theater

مفهوم اللعب في اداء الممثل المسرحي العراقي

اسم المؤلف: يحيى ابراهيم فليح
اسم المشرف: هيثم عبد الرزاق علي
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون المسرحية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

انساق التلقي في الخطاب المسرحي : دراسة سوسيولوجية == Receipt Order In Dramatic Speech (Sociological Study)

اسم المؤلف: محمود سعودن رسن
اسم المشرف: سافرة ناجي جاسم
الموضوع العام: الفنون الجميلة
السنة: 2013
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The theory of aesthetic reading and receiving is looking for critic conceptions which make a change in the world of criticism concerning the reading of literature achievement this element make the - person - reciver remarkable factor to release the meaning of the achieved speech. on the ground of the controversial relation between the three elements of creation (the writer - achiever - receiver ) this theory provide us with its conceptions by several terms and principles that have great role to make big aesthetical knowledge based at (the horizon line of expectations - underlying reader - range of aesthetic - movable point of view - filling the gaps )As we said that the theatrical dialogue has formed strong and effective relation with the receiver, this we lead to the result of indispensable dual dialogue , so we ask How can the reader will interact with theatrical dialogue and How can interact with whole dialogue or some of it’s elements?For the sociological method importance in shaping human’s awareness, and what awareness consists of references which made from the effect of the fact, it hold sociological influences, that forming knowledge and aesthetic changes in order to answer all questions, we made the thesis into divisions : - ? Chapter one / systematic field (problem of thesis, importance of thesis, thesis goals, thesis limitations, terms restricted) - ? Chapter two / theoretical field consists of (first subject : theory of receiving concepts and procedures (method), second subject : sociological changes in theatrical dialogue. Third subject : method of receiving theatrical show, forth subject : previous studies, theatrical field aims)After the work of the writer he make the conclusions that thesis procedures in chapter three : ( society of study and it’s limits, study samples, study tool, study systematical tools) intentionally, we confine samples in order to apply it to thestudy, (theater / Hussain now / director and composer : Akeel Mahdi, theater/ summer rain/ composer : Ali Abdul - Nabi / director Kazem Al Nasar, theatre / brutal wedding / composer : Falah Shaker, director : Ahmed Hasan Mousa).After the writer’s finishing his sample analyzed the results appeared and discussed in chapter four based on standards shows in the clauses (9,11,12,13). In chapter two within subject four.In the study, we had discovered hypothesis conclusions that we made cognitively hoping to complete the scientific use, we are whishing God to send us his blessing in our study, and to be good luck

المرجع المحلي واليات التغريب في العرض المسرحي العراقي == The Local Reference And The Mechanisms of Alienating In The Iraqi Theatrical Performance

اسم المؤلف: سهى طه سالم
اسم المشرف: عقيل مهدي يوسف
الموضوع العام: الفنون الجميلة
السنة: 2013
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: 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.