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الميتافورم في العرض المسرحي العراقي المعاصر

اسم المؤلف: حسين جاسم محمد حمزة الجبوري
اسم المشرف: اسماء شاكر نعمة شبر
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2019
مكان الجامعة: بابل
الصفحات الاولى:

اساليب تصميم المكان في المسرحيات الشعبية العراقية

اسم المؤلف: مالك نعمة المالكي
الجامعة: جامعة بغداد
اسم المشرف: محمد عبد الرحمن الجبوري
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2000
مكان الجامعة: بغداد
الصفحات الاولى:

التوظيف الدرامي للرؤية التشكيلية في المنظر المسرحي العراقي

اسم المؤلف: اسيل ليث احمد العزاوي
الجامعة: جامعة بغداد
اسم المشرف: ضياء انور حبش التكريتي
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2003
مكان الجامعة: بغداد
الصفحات الاولى:

البناء الموسيقي لعروض المسرح الغنائي في البصرة

اسم المؤلف: ناصر هاشم بدن
الجامعة: جامعة بغداد
اسم المشرف: طارق حسون فريد
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 1998
مكان الجامعة: بغداد
الصفحات الاولى:

التوظيف الدرامي للاغنية في العرض المسرحي العراقي

اسم المؤلف: عبد الكريم حميد نادر
الجامعة: جامعة بغداد
اسم المشرف: طارق حسون فريد
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2000
مكان الجامعة: بغداد
الصفحات الاولى:

الوظيفة الدرامية للموسيقى في عروض مسرح الطفل العراقي The dramatic function of music in the Iraqis Child Theatre

اسم المؤلف: زيد سالم سليمان
الجامعة: جامعة بغداد
اسم المشرف: علي عبد الله فجر
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2003
مكان الجامعة: بغداد
الصفحات الاولى:

المنظومة الضوئية وتغير المكان في العرض المسرحي العراقي Lighting System And The Change of Place In Iraqi Theatrical Show

اسم المؤلف: علي محمود محمد السوداني
الجامعة: جامعة بغداد
اسم المشرف: قاسم مؤنس عزيز
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2014
مكان الجامعة: بغداد
الصفحات الاولى:

خصائص السينوغرافيا في عروض المسرح الاحتفالي العربي Characterastics In Cenographic Peresentation of Festival Arabian Theater

اسم المؤلف: باسم محمد احمد حسن الجبوري
الجامعة: جامعة بغداد
اسم المشرف: محمد عبد الرحمن الجبوري
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2014
مكان الجامعة: بغداد
المستخلص: بعد انقطاع وغفلة يعود من جديد البحث في ما هيات المسرح الاحتفالي العربي وعناصره السينوغرافية التي يتشكل منها، بوصفها فنا يعكس انماطا شديدة الخصوصية، وعلى تماس مباشر باحاسيس ومشاعر المتفرجين، مع محاولات اللحاق بركب العصر الحديث والاستفادة القصوى من كل ما | After the interruption and inattention back from New research into what Hiatt theater festive and elements Alcinograveh that make up as an art reflects the patterns very special , and in direct contact feelings and the feelings of the spectators , with attempts to catch up with modern times and make the most of everything that will lift the format presentation for display theatrical techniques and technology , ranging from architectural buildings play to their equipment , technical and professional to the possibilities available in the project sound and follow the movement of Representative above the stage and keep up with the spirit of the times to create a scene of theatrical and methods of implementation and formulation of places of different widths and advanced capabilities of the types of theatrical lighting and the use of historical costumes and contemporary and develop plans integrated to form a celebratory spectacle in the form of the final presentation.In this study addresses the researcher in the first quarter represented the methodological framework of the research problem and the need for him by asking about the properties of Alcinogravea in theater ceremonial and its ability to influence the final wording of the composition of the image visual display and audio , as well as the importance of research in the theme of scenography and its relationship with the theater festive addition to research objectives and limits of temporal and spatial and objectivity, in an attempt to extrapolate the reality of the Arab theater and the vital festive spirit of the times in providing theatrical performances and then determine the terms contained in the title as well as operational definitions for the researcher.In the second chapter of this study , a theoretical framework which is divided into three sections , the first section for the celebration in the Arab and global concept and who are advocates of ceremonial and who are the pioneers and founders. The second section focuses on the tributaries and the main pillars of the festive scene. The third section included Achtgalat Alcinogravea elements in the festive display.And Of space theater and its many forms and theorist playwright ( decoration) and the aesthetics of lighting, costumes , makeup and accessories play various music and sound effects and actor , as active agents in the composition and formation of the system visual and auditory display of theatrical festive , and then dealt with previous studies and the resulting theoretical framework of indicators to contribute to the formulation search results.The third chapter objective measures search by selecting the research community and the samples and the method selected in addition to the research methodology , tools and methods and then analyzing samples for five presentations of the Arab theater festive chosen by Qsidia to get to the search results and discussed in the fourth quarter to reach final conclusions of the research and recommendations and proposals Hutea this study, sources and references that have been approved in addition to the research summary in English.The researcher reached several conclusions , including : 1 - data Alcinogravea and employment within the space of the play one of the methods adopted to create a pluralistic vision directorial heritage dramatic text to read more from Arab filmmaker 2 - rely festive theatrical presentation on the potential of the image of plastic and visual effects and audio generated by Alcinogravea in an attempt to give the ceremonial spectacle , and in a harmonious unit within the theater space 3 - reinforced Alcinogravea attract spectator to the theater after the festive mobilized all available means and that was difficult to achieve in the past aesthetically in theater 4 - become the dominant elements Alcinogravea authority in theater ceremonial speech to achieve intellectual and emotional values desired by the theater in various experiments to highlight the diverse aesthetics at all levels dramas
الصفحات الاولى:

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

اسم المؤلف: جبار جودي جبار العبودي
الجامعة: جامعة بغداد
اسم المشرف: محمد عبد الرحمن الجبوري
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2009
مكان الجامعة: بغداد
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.
الصفحات الاولى:

ثنائية الادارة والانتاج في تسويق العرض المسرحي العراقي Duality of Management And Production In Marketing of Iraqi Theatrical Show

اسم المؤلف: احرار صيهود حسين
الجامعة: جامعة بغداد
اسم المشرف: محمد عبد الرحمن الجبوري
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2014
مكان الجامعة: بغداد
المستخلص: The world has known the importance of management and production in achieving successful businesses that people could actually benefit from. The world has known too how important that these administrative and productive operations should be accompanied by others that deals with business marketing. Just like there are commodity products achieve profitability direct material, if successful, there are also service products achieve profitability moral and material direct and indirect.The artistic activity, in general, and the theatrical one, in particular, is one of the these activities or businesses that achieve profitability moral and material, as well as help spreading awareness and increasing the level of culture in the countries. To pay attention to the administrative, productive and marketing aspects will emphasize that the community is being developing and progressing. Therefore, this study has came to emphasize the importance of both management and production in marketing the theatrical show and help achieving its goals and reach for the artistic, aesthetic, and cultural aspects in the country. All this because the three operations of management, production and marketing have been taken and discussed in order to having the theatrical show successful.Chapter one of the study which shows the methodological framework, addresses its problem, its need, its importance, its objectives and its limits as well as identifying its terms. While chapter two of the study which shows the theoretical framework that comes in three sections : the first addresses the concepts of managing production and marketing, the second addresses the management and production in a theatrical show, and the third addresses the duality of management and production in marketing a theatricalshow. Then, the researcher comes up with indications of the theoretical framework as follows : 1. That management is considered like a factory of making resolutions and a field for arranging resources in order to use them to achieve specific goals - like results.2. That management is one of the operations of achieving results through the effect of a manner in a framework of a specific environment.Chapter three of the study, which shows the procedural framework, addresses its society, the sample and tools and study methodology, in addition to analyzing the samples according to the indications of the theoretical framework.Chapter four includes the results, conclusions, and recommendations of the study. It ends with list of resources, appendixes and an abstract in English.
الصفحات الاولى:

تقنيات الفضاءات المتعددة في عروض المسرح الاكاديمي : عروض كلية الفنون الجميلة - بغداد - انموذجا The Multiple Technical Spaces Performance, College of Fine Arts Baghdad As Sample

اسم المؤلف: بلال وليد شامل حسين
الجامعة: جامعة بغداد
اسم المشرف: رياض شهيد علي الباهلي
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2015
مكان الجامعة: بغداد
المستخلص: نشات الدراما في فضاءات متنوعة وواسعة وتبعا للمحيط المكاني والزماني والتجمعات البشرية, ولكل حدث او عمل فضاءه الخاص, حتى بدا نشوء الدراما بالوحدات الثلاث التي نظر لها الفيلسوف والمعلم الاول ارسطو واصبح للممثلين فضاءهم الخاص في السفوح العالية على شكل نصف د | Drama Originated in a variety of spaces , spacious and depending on the perimeter of the spatial and temporal and human populations,the concept of private space philosophers since the Greeks and for each event or work space where his own. As the Dionysus rituals were in wide open spaces as in open air in honor of the god, until the emergence of the three units Aristotelian drama and became representatives of their space where audience is seated outdoors to watch the performanceAnd with the development of societies across the stages of history came out ideas and put art and development in various areas of life, including the Architectural Engineering, which contributed a great contribution to the invention, innovation and development in the theaterThe space of the actors changed a great deal depending on the ages that passed by, and the most prominent style of the Greek and Roman Open through eras canon and squares even began to stage Renaissance and built theaters, including traditional and became viewable dramatic special character in terms of the relationship and communication between the representatives and the audience.Since the late nineteenth century and early twentieth century, what happened in the world of innovations in modern technology reflected the theatrical art in terms of lighting and its effects and music, and many other techniques.Many ideas and visions of directors and designers emerged out of the idea of choice for space for treatment of the text and the choice of the appropriate place allows and highlight theater and offer different flavors especially after the emergence of the modern filmmaker in the nineteenth century.The directors and designers try to present their performances outside the traditional box theater, they have chosen several places such as yards, streets, coffee shops, houses, and even historical and Archeological places and garages. Some denied the space of closed and box theater and call for theater to go back to its origin and to the beginning of it.The peoples of different and diverse cultures has their own footprint and that are commensurate with the nature of the space in which they reside performances, whether rituals l or ceremonial or traditional techniques using scenery, lighting, music, customs , properties and make - up play important role with special cultural touches in the basis of the success of the theater..The researcher selected the title of his research ( The multiple technical spaces performance ,college of fine arts Baghdad as sample ).The research is divided into four chaptersChapter One : systematic framework consists of the research problem and the need for it, the importance of research, the goals of the research, the limits of the search, and determines the terms.The second chapter contains a theoretical framework and contains a concept of space and multiple spaces for performances includes the aesthetics of space in the theater and the various technologies in the space of theaterThe third chapter of the research is the proceeding which includes : The researcher studied twenty theatrical performances presented In a variety of places by the College of Fine Arts at the University of Baghdad, The researcher have chosen three samples deliberately.Macbeth was presented in the courtyard of the Department of Performing Arts. the second play( The republic of AlGawahiri ) was presented at a big wedding hale in Erbil the third play was ( of refraction) , was presented in the gardens of the college of fine Arts. Chapter IV : consists of the search results, and conclusions, recommendations ,proposals ,a list of sources , references and a summary in English.
الصفحات الاولى:

التحولات الدلالية اللونية في السينوغرافيا المعاصرة The Colorful Significant Changes In The Contemporary Scinography

اسم المؤلف: فلاح كاظم حسين
الجامعة: جامعة بغداد
اسم المشرف: محمد عبد الرحمن الجبوري
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2010
مكان الجامعة: بغداد
المستخلص: ان كل المتغيرات والتحولات في انتاج مستجدات السينوغرافيا القائمة من الواقع المعيش على المسرح، الذي لم تكن يوما ولن يكون بعيدا عن هذه التحولات والتطورات الحديثة. اذ يسهم في بنية العرض المسرحي وسائط تقنية متعددة يتم توظيفها من قبل اختصاصيون في مختلف الانشط | All the variables and changes in the product of the new things that base on the actual condition that is depended on the theatre, which was not be and will not be for from these changes and new development. It contributes in the building of the theoretical show and there are many technical means that are employed by specialists in different scientific activities like : musicians, engineers of lights and sound effects and optical tricks as well as the formation, architecture and fashion designers, however, the theatre depends today on different expressive techniques that are represented in using sound and body language and its elegance to produce the meaningful expression through formation and shaping the gesture movements and music and dancing to make the receiver interact with them. Also, in all these techniques, the theatre needs to make a practical study for the technical changes especially the colorful ones, and it is the subject of research. So, the changes, in the theatre, are not the outcome of today; but they do have an origin in the present days until they reach to the new cinematic language that fabricated its forms in technical currents and directions; which had appeared and spread especially after the Second World War in all Europe and United States and the Arab world. These currents have used the technical tools and their significance and functions in different creative operations to find out their capacious in different creative operations to find out their capacities, dimensions and aestheticism and thoughtful applications. And that is named "The Colorful Significant Changes in the Contemporary Scinography" which deals with the study of understanding the alternations and how to produce the colorful significance inside the temporary scinography? Also, the study includes four chapters in addition to the abstract, results, and conclusions. The first chapter includes the methodological framework, the research problem and its need. Then, the researcher illustrates the researcher's importance throughout the changeable operation to produce the singnificance inside themodren Scinography, and thereafter he explains the research aim that is represented in ( illustrating the colorful Significant changes in the temporary Scinography); in which tine research illustrates the terms limitations like change , Significance, and Scinography. Besides, cheapter two mentions (the theoretical framework) and it includes three topics, they are as fallow : 1 - The first topic is the significant changes in the theoretical show.2 - The second topic is the color and its concept, psychological characteristics in theoretical show. 3 - The third topic is the deviation color and the Scinography elements.And the chapter has ended in pointing at the previous group studies by concentrating at the indicators from which the theoretical framework is produced, and chapter three deals with the found procedures which include the intentional samples that are represented in the following theoreticalshowws; 1 - ) The play of Atael in the Kitchen, that is authorized by; SamiAbd al - Hameed in 1996.2 - ) Macbeth play that is authorized by : Salah al - Kasab in 1998. 3 - ) Saedrah play that is authorized by Fadel Khaleel in 20014 - ) Ghosts play that is authorized by : Adel Kareem in 2004 - 2005..5 - ) Ali al - Wardi play and his opponent that is authorized by : Akeel Mahdi in 2008.Besides, the syllabus and tools of the research with its analysis that is represented in : 1 - ) The theoretical framework.2 - ) The compact discs.3 - ) The photographs.Therefore, making analysis for the samples and indicating the colorful significant changes that are used is another step.Finally, the fourth chapter includes the results that are found or got by the researcher and then the conclusions with the suggestions and recommendations. Also, the sources are mentioned with the annexes. Ultimately, we have mentioned the abstract in the English language.
الصفحات الاولى:

تصميم الازياء في مسرح الطفل بين الشكل والهدف Couturein Childrens Theater Between Form And Goal

اسم المؤلف: براء شكيب اكرم الصالحي
الجامعة: جامعة بغداد
اسم المشرف: روعة بهنام الشعاوي
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2015
مكان الجامعة: بغداد
المستخلص: يتناول البحث دراسة الاشكال التصميمية الخاصة بمسرح الطفل من حيث الشكل والهدف بوصفها احدى عناصر العرض المسرحي، لانها تشغل حيزا ماديا فوق خشبة المسرح، وفي الوقت نفسه تسهم في ايصال المعنى والدلالات الى الطفل.يقع البحث على اربعة فصول، يتضمن الفصل الاول الاط | This research deals with the study of forms design for the theater of the child in terms of the shape and the goal as one of the elements of theater because they occupy materially above the stage, and at the same time contribute to the delivery of meaning and connotations to the child. Situated Find in four chapters, Chapter I contains the methodological framework / research problem that crystallized the following question (Are there problematic in fashion design in offers children's theater between form and goal?) And have X objective to identify the limits of the relationship between form and goal in fashion design as well as The importance of research and determine the terms. In the second chapter (theoretical framework) has included three sections, the first section is the following : the concept of fashion design in the shape of the child, has been divided into : - 1 - A brief history of fashion child. 2 - Figure in Fashion Design : The divided into : - A - Figure B - connotations figure in the design of the outfit. C - perception and shape The second topic is : the design goals for the child fashion : The divided into : First, the design elements and foundations : The divided into : a - b design elements - the basis of the design Secondly technical objectives : The divided into : a - b functional - aesthetic Third, psychological and educational goals. The third topic is : fashion and its relationship to the elements of the display in the children's theater, has been divided into : A - Relationship Representative theatrical fashion. B - relationship with lighting theatrical fashion. C - nothing theatrical fashion decor. D - relationship theatrical makeup fashion The outcome was the theoretical framework for a number of indicators which were represented by the search tool as well as other tools. The third chapter, which measures the search, as selected samples Qsidia which offers plays (the world of vitamins) and (jackal advanced) and (Karkh and Rusafa) based on analysis of the research tools, namely, (watch theatrical performances) and watch the CDs, interviews, and indicators that resulted in by the theoretical framework, and photographs), following the approach of descriptive and analytical results that have emerged have been discussed during the fourth quarter and has been reached conclusions and seal search a list of sources and a number of supplements that the researcher sees the need for them to enrich search. In order to submit presentation on stage has to be the availability of a set of basic elements , including text and actor , location, etc, which integrates supply Fimnha many pictures innovative bearing the meaning of the play and expressive about events Moreover, they reveal perceptions director has within its vision directorial. The theater does not integrates her address the language only , but there must be interaction with the elements of image formation and play between the receiver which reacts with the show visually and acoustically. That 's the play is not the only visual shape , but the relationships are visual, auditory, visual relations that are among the elements of theater itself. Since it does not form a picture of the real substance of which its constituent elements and these elements interfere with each other to be the aesthetic image with signs and symbols of working to attract the attention of the recipient and stimulate his imagination dislodged.The study included four chapters - : Chapter One : The methodological framework contained , which included the research problem and the need for , and the importance of research and research objectives and the limits of the search, specify the terms. The research problem has emerged to ask a question the researcher is trying to answer it ( What 's building mechanisms and transformations to create a theater Is it fixed or variable ). The importance of this research lies in the identification of image - building mechanisms , functioning to be a theatrical presentation. The goal includes research to identify the image - building mechanism and formed in the theater.Chapter II : which included three sections : The first topic : the concept of the picture , which addresses how the emergence of the image and what the image and its impact on the receiver since primitive man to the present time and how to enter in the technical field.Section II : Mechanisms for image building , where he addressed this topic elements that work on the production 's theatrical and enrich the theater , and these elements are ( actor, theorist theater , lighting , costumes, makeup, music and sound effects , where she works all combined with each other to create a space special display and impress recipients and transfer the idea to them.Section III : 's variables in directorial directions , has included this section : First : the realistic trend in the stage directions : it provides a realistic picture of unknown to the receiver including raises surprised have had to rely on in this direction Representative in the transfer of feelings and emotions to the recipient to affect it attracted for theatrical display.Second : the natural trend in directing theater : where is this trend is an extreme extension of the trend as it moves the realistic fact to the recipient as it is non - delete or decoration as it was his goal to provide actually honestly Tam.Third : direction or the opposite direction of realism in theater directing : a trend that was intended to give priority to the shape and aesthetic values on the content of the work.Fourth : Expressive trend in theater directing : eat this trend provide a picture embodies the essence of things without paying attention to the external form has interested in filming the individual 's mind more than the facts of life , because the fact of man lies in the depths of the same sensory manifestations Ave.Fifth : the artistic direction ( art for art ) has been preached in this direction director Gordon Craig depends on where the two components : a. Representative body. B. Vacuum forming theater.Sixth : the epic trend in directing theater : where this trend has sought to transfer emotions from the podium to an audience that is provided in this direction of movement of events directly related to the problems of people to get them to the coup and rebellion against reality and change it.Then touched a researcher to previous studies , which focused on the subject of the picture , and then the researcher reached a set of indicators of the theoretical framework of the research in order to analyze the samples and tested.The third chapter : (procedures ) with double two.First : research methodology , with the adoption of the descriptive and analytical approach.Second : discuss the samples that have been selected are intentional and subjected to analysis according to indicators that have been out of the theoretical framework and the samples consisted of three performances of a number of directors.1. Ice play.2. Play a secret session.3. Play reindeer mortarThe fourth quarter included result : Then came the conclusions of the researcher and then came the recommendations of the researcher stressed the importance of play and mechanisms that operate on its composition within the directorial trends and the need for the expansion of research and work out accompanied by a list of sources of research and a summary in English.
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اليات التكامل بين دلالات الزي في العرض المسرحي العراقي (1990 - 2000)

اسم المؤلف: سرى جاسم خيون الساعدي
الجامعة: جامعة بغداد
اسم المشرف: مصطفى تركي السالم
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2009
مكان الجامعة: بغداد
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…
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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
الجامعة: جامعة بغداد
اسم المشرف: مصطفى تركي السالم
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2013
مكان الجامعة: بغداد
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...
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الايقاع البصري في عروض المسرح العراقي

اسم المؤلف: ميادة مجيد امين الباجلان
الجامعة: جامعة بغداد
اسم المشرف: قاسم مؤنس عزيز
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2009
مكان الجامعة: بغداد
المستخلص: يتناول البحث الايقاع البصري في العرض المسرحي بوصفه المنظم لنمو شبكة العرض المسرحي، والذي يساهم في ايصال المعنى للمتلقي، ومدى استجابته، وتنصب مشكلة البحث على كيفية اشتغال الايقاع البصري في العرض المسرحي العراقي من اجل خلق الانسجام والتوازن والتضاد والثبا
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الماكياج والتعبير الدلالي في العرض المسرحي العراقي

اسم المؤلف: اخلاص فاضل احمد السامرائي
الجامعة: جامعة بغداد
اسم المشرف: قاسم مؤنس عزيز
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2009
مكان الجامعة: بغداد
المستخلص: يعتبر الماكياج عنصرا اساسيا مع عناصر المنظومة البصرية، ولاسيما في المسرح الحديث، حيث اكد الماكياج مع باقي العناصر ايصال الشفرات والعلامات، والرسائل وصولا الى المعنى المطلوب كما ان للماكياج خاصية اظهار العوالم الداخلية للشخصيات والعروض والتيارات والتجارب ا
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جماليات الشكل البصري في المسرح التفاعلي نماذج مختارة Visual Form Aesthetics In Interactive Theatre Selected Samples

اسم المؤلف: بردى عطية ثابت
الجامعة: جامعة بغداد
اسم المشرف: قاسم مؤنس عزيز
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2015
مكان الجامعة: بغداد
المستخلص: This research deals with the visual form aesthetics in the interactive theatre, which is shaping from a number of elements that triggers recipient aesthetics excitement through organizing these elements in order to take their proper place and then achieve form, aesthetic and beneficial function, and by the same time achieving the required meanings and indications for inspiring the recipient to be an effective element in the showing. This research includes four chapters. The first chapter shows the problem under the question : how can the operations of the visual form weave the aesthetics in the interactive theatre? The importance of the research is clarified by it attempt to identify the visual form operation that leads us to the aesthetic aim of the artistic work, for the last is being one of the most important factors in a theatrical show. This research can be very beneficial to workers in all technical aspects. The research aims to identifying the visual form operation and its aesthetics in the interactive theatre.The limits of this research has been identified from the year 2010 to 2015. They are limited to some presentations in Hollywood - Jordan - Kuwait and they all show the visual form aesthetics in the interactive theatre. The chapter is concluded by terms identification and procedural definitions for each of the following (aesthetic, visual form, interactive theatre), the researcher has taken them as the research path and curriculum.The second chapter includes the theoretical framework and has three sections.Section one deals with the tributaries of the interactive theatre. the researcher talked about it in two detailed points; the first is the modernists experiments and the change in the theatre after their experiences, while the second is technology and the modern techniques that refined theatre and opened new ways with other cultures.Section two consists of the elements of the visual form aesthetics : the actor, the lighting, the décor, the costume and props, and make up. They all work together to create the unity of the theme and become of great value than its being just elements. The artistic work is not just a random operation, it is rather an organized operation work according to certain thoughts and meanings that are conveyed to the recipient through these elements.Section three shows how to operate the visual form in the interactive theatre throughout its components (line, mass, formation and color) and through its meanings and indications that are resulting from, and how to convey the meaning of these components to the recipient.Chapter two concludes with the indications of the theoretical framework. They are : 1. Knowledge and its technical mechanisms are considered among the most important tributaries of the interactive theatre. knowledge is sensually and intellectually connected to each element of the showing, that work on lifting it up to a technology degree reflects the progress of the elements in changeable digital math formulas, and then to give one thought that has either a lighting or musical or gestural motion to attract the recipients attention and have them as an important element in the show through incorporation.2. The use of big screens of different kinds provides special areas of greater aesthetic and intellectual importance because they fill up the visual vision area for the spectator.The third chapter includes the research procedures which discuss the research curriculum, research community, research sample, research tool and sample analysis.The fourth chapter includes results and conclusions. The following points are among the research results : 1. The transition speed between what is realistic and what is virtual by the lighting, has added new aesthetics to the showing.2. The visually lines overlap has added aesthetic touches which sends the recipient to interact with them.And the following points are among the conclusions : The contemporary theatre makes use of all the modern techniques abilities in visual and sound effects, by making virtual backgrounds of positive impact on recipient, incorporating imagination with reality and technology with real world.
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توظيف السينوغرافيا في مسرح الدمى نماذج مختارة Alcinogravea Employment In Puppet Theater (Selected Models)

اسم المؤلف: غسان هاشم احمد عباس
الجامعة: جامعة بغداد
اسم المشرف: محمد عبد الرحمن الجبوري
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2015
مكان الجامعة: بغداد
المستخلص: يعد مسرح الدمى بانواعه المختلفة احد المسارح المهمة المقدمة للاطفال والكبار على حد سواء، وهو بمساحته المحدودة وبشكله المميز يمنح المتلقي فرصة كبيرة لاستخدام خياله في عملية التلقي، واكتشاف طبيعة الاماكن التي تدور فيها احداث المسرحيات المقدمة.وبالرغم من | The dolls different forms Theatre one of the theaters important for children and adults alike, and is geographically limited and distinguished form gives the receiver a great opportunity to use his imagination in the receiving process, and the discovery of the nature of the places where the events spin plays the foreground.Despite the fact that this art did not take its natural place in the Iraqi theater, but it took evolve in the western theater and in the Arab theater as well, prompting the researcher to address this issue and highlight the concept and characteristics and the nature of Achtgalath chose the title of his research (employment Alcinogravea in puppet theater (models selection)..)..lki Be input for consideration..Research is divided into four chapters task : - Chapter I : - (methodological framework), addressing the problem of research and the need for him as researcher found that the problem lies in not full attention to such necessary theaters for adults and Alassaar / proposed to solve the problem to answer the following question (Is there a hiring of scenography in the puppet theater?), And this question and answer is an urgent need to study that subject, then he stopped after that to the object of this research, as research aims to detect ranges employ elements of scenography in the puppet theater, then the importance of research as it found that the importance of research lies in the educational significance as well as monitoring of the placed aesthetic very important.According to research all Alcinogravea designers and those interested in the theater of the child, and all colleges and institutes of Fine Arts students, has developed a researcher limits to his research objective (elements Alcinogravea in puppet theater), and spatially, theaters puppets in Iraq and in the Arab world, and in the world, and temporally from (2006 to 2015) He then moved to determine the terms, namely, (Employment / Alcinogravea / puppet theater).The second chapter includes the theoretical framework and previous studies, which included three sections and are as follows : - First topic : - the aesthetics of cinematography in the puppet theater. Specifying the types of spaces and landscapes and fashion lighting and accessory, makeup and music, highlighting the role of the actor in a simulation engine that Alcinogravea as the basis for dolls amid those Alcinogravea.The second topic : - concept and techniques of puppet theater.. highlighting the origins and characteristics and how the puppets in the theater.The second topic : - Achtgalat Alcinogravea in puppet theater.. He explained three levels to those Alachtgalat a formal level, and substantive level, and aesthetic level, explaining the most important aesthetic characteristics in puppet theater.This chapter also included on the previous studies and the most important indicators resulting from the theoretical framework. It is the most important indicators : • that the industry stands out as Alcinograveh appear in the first design Bodvha moving entity independent from vision dimensional looking for a dazzling effect.• The cinematography is my perception fantastically in the field of movement activity and perception of the space listed spoken dramatic, objective of extending the area and place a major humanitarian emotions which art space coordinate and control its shape in order to achieve the objectives of the offer.Chapter III : - ensure research procedures.. dealt researcher community Find It includes (40 / fortieth sample) four samples is my intention and chose them to provide Alcinoraveh elements, recorded and illustrated them, copy, and it covers the limits of search spatial and temporal and these samples are : .1 / Speck Beck... Iraq2 / Sahsah sloths... Egypt.3 / Grandfather and grandson... Egypt...4 / The Nutcracker... Austrian theater. The researcher descriptive analytical method chosen in the research sample analysis.Chapter IV : - it has contained and discussion of results and conclusions, as the researcher to some results of the analysis, including : - ? open Alcinogravea the symbolic references extend to refer it to the exotic magic ritual.? reflected realistic Alcinogravea through the realistic nature of the characters and events.? granted directorial contemporary trends to hire a dominant presence in the building Alcinogravea display units across Ckladtha stylistic.This chapter also contains the recommendations and proposals, as the researcher recommended that a systematic lesson in colleges and institutes of arts is determined puppet theater, and is building a private theaters with toys for the development of this art, either proposed has proposed a researcher studying the technical side in the toy industry.. then eat the fourth quarter a list of sources and references, and appendices and finally summary Search in English
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التقنيات الحديثة في سينوغرافيا العرض المسرحي The Modern Technique In Scenography of Drama Show

اسم المؤلف: انعام معن ابراهيم
الجامعة: جامعة بغداد
اسم المشرف: صلاح مهدي القصب
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2008
مكان الجامعة: بغداد
المستخلص: ان المسرح كائن حي يتفاعل مع كل المتغيرات والمستجدات القائمة، فلم يكن يوما ولن يكون بعيدا عن هذه المبتكرات والتطورات الحديثة في عالم التكنولوجيا. فالعرض المسرحي تساهم في بنيته وسائط تقنية عديدة يتم توظيفها من قبل اختصاصيون في مختلف الانشطة العلمية ,كالم | The second chapter (theoretical frame) is divided it into five section , in the first, the researcher has explained the importance of technology and its reflections on dramatic culture through the concept of cultures dialogue which was elaborated by the French thinker ( Rojeh Garody) who embraced Islam. In the second section ,the researcher explain the work of that technology through composing dramatic speech. The third section is divided in to two directions; in the first she refers to the most important technical techniques that contributed to development of drama show structure ;identifying it by computer firs and then by internet, while in the second she talks about the most important computer techniques and how to employ it in designing the element of drama show. The fourth section touches the most important direction techniques of directors whom the researcher has divided into tow current, each has a different way when building the Scenography of drama show in the light of using those techniques. She closed the section with the most important techniques used by modern theatre which are body performance through gesture language, sound expression and dancing. She concludes this chapter with former studies and set of indexes resulted from theoretical frame; the most important of them is that the modern theatre is mixture of many cultures that is affected by those cultures, furthermore the director has dealt with the actor as a body having mythological and expressing abilities capable of producing a new language with the receiver. However, modern techniques don't neglect the human being role and his creation, but it increases the opportunities of innovation and renewal in modern theatre.The third chapter includes the research procedures throug the research society and samples represented by the following designs and drama shows : 1 - The play of "The Bedouin and the Orientalist" directed by Akeel Mehdi. Theatre is considered as a living thing that interacts with all standing and revived variables, it was ever and will never be far from these modern innovations and developments in the world of technology. Several technical means contribute to drama show, these means come from specialists in various scientific activies such as musicians, lighting designers, sound effects, optical tricks, as well as designers of fashion, building and shaping. Today theatre also depend on various expressing techniques represented by using the language and grace of the body to put through the meaning by shaping gesture movement, singing and dancing so that the receiver can interact with. So, technology in theatre is not a newborn, but it accompanied it since the Greek times till the present. Consequently, it appeared with a new language whose features have been employ in the artistic currents that emerged and spread definitely after the Second World War in Europe,USA and the Arab World. These current used technology as a technical means employed in various innovation processes to discover its abilities and its intellectual and aesthetic dimensions. Upon this basis ,the researcher has identified the research problem in the first chapter of her thesis designated " Modern techniques in Scenography of drama" , in the following question : How to employ modern techniques to build the Scenography of drama show?Then, the researcher has explained the importance of her research which is regarded as one of the scientific efforts looking for the importance of technical development and its inflection on drama show techniques in Scenography building, and she considered it as an important reference for students at Fine Arts Academy. Then ,she explain the objective of the research , its limits and finally defining the most important term that is the concept of technology and Scenography.
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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
الجامعة: جامعة بغداد
اسم المشرف: محمد عبد الرحمن الجبوري
الموضوع العام: الفنون الجميلة
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
اللغة: العربية
السنة: 2013
مكان الجامعة: بغداد
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
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