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

اسم المؤلف: فلاح كاظم حسين
اسم المشرف: محمد عبد الرحمن الجبوري
الموضوع العام: الفنون الجميلة
السنة: 2010
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
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.

تداخل اساليب الاداء التمثيلي في عروض المسرح العراقي == Interlinking of Artistic Performance Styles In Iraqi Theatrical Shows

اسم المؤلف: عتاب جاسم نصيف
اسم المشرف: عادل كريم سالم
الموضوع العام: الفنون الجميلة
السنة: 2008
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يتفق كل الباحثين والدارسين في حقل الفن المسرحي ان لفن الاداء التمثيلي اسلوبين اساسيين احداهما (تمثيلي) والاخر (تقديمي) من حيث الاداء اذ تنضوي تحت لوائهما مدارس تمثيلية عدة منها الكلاسيكية والتعبيرية والواقعية والرمزية...وقد تولدت عنهما اساليب ادائية شتى | All the Researchers And Students In The Field of Theatrical Art Agreed upon That the artistic performance has two basic styles one of them is (performance) and the another is ( introductory) they included numerous performance schools among them the classical, realistic and symbolic schools…… From them numerous performance styles have been originated, opining avenue to the actors to introduce numerous of these performance styles with in the numerous concept of and interlinking of artistic performance in the single theatrical show. For achieving the purposes of the researcher in her thesis to recognize the machinery of artistic performance in single theatrical show so the research has come under the title (interlinking of artistic performance styles in Iraqi theatrical show. The research includes four chapters.The first chapter concentrated on the systematic frame of the research whereas the research problem dealt with an obstacle deters the actor performance considered the basic authority and the active element in theatrical show address which is as a result of the numerated school performance and their styles perplexion has prevailed in the theatrical performance so the criteriia have become imbalance as a result of ignorance resulted from this interlinking and non - distinguishing and awareness to the reality these styles, also the chapter includes the importance of the research ,its aim ,limits and assign the terms, while the second chapter includes theatrical frame , it contains three main categories under titles The first category : - the concept of interlinking in which I have displayed in this category the most important psychological, and Knowledge fundamentals of the interlinking concept The second category interlinking of artistic performances which I have reviewed the interlinking of styles in theatrical show of reading the text in a contemporary directory vision which will be subjected to the interlinking of new economical, political and social relations this will lead to interlinking in artistic styles which connected in its circumstances, stage and its reconstruction in away conform to the nature the direction of the modern vision. While the third category includes the machineries of interlinking of artistic performance styles in theoretical directions, I have displayed in this category techniques of artistic performance styles and its methods. The theatrical frame has produced indications, the most prominent of them are : - 1.Interlinking of artistic performance styles the in the research of new performance styles, new the artistic performances connected another styles references temporary connected with harmonious interlinking unity, in which the principles of mixing organizing, diversity , balance, harmony and rhythmic achieved the artistic effect which represent aesthetic tendency to attain the communication process between the actor and the spectator.2 - Mixing of artistic performance styles randomly doesn't mean in a random method without subjecting to unified harmony for their diversity with in the diversity concept in the unity, interlinking in styles, whereas the interlinking always move on the base of finding a central focus in performance in which and through them another performance styles move after interlinking with units of building personality, scene and action.The third chapter based on measures taking frame and it includes the structure and the specimen of the research that are represented in elected shows of the Iraqi theatre like ( Oteil in the kitchen), ( Macbeth) and(the Ghost)I have displayed in the most important and conclusions in the fourth chapterAmong these results : - 1. Thearitcal artistic performance styles interlinking which is process of liberating the actor tools from their usual expressional mode, and oriented towards new animation and movable existence being the interlinking in its essence mean movement concluded by the action in its dealing with things for revealing its hidden secrets then representing them in forms, images and expressional contexts of theatrical show address.2.Theatrical artistic performance styles interlinking means the organized technical and aesthetic structure of the whole relations of these styles inside the performance structure within central harmony, it is creative action in organizing the action of the actor and it is equivalent to organizing his tools. The research is terminated of foreign and Arabic sources and the abstract in English language and appendix with pattern of Iraqi theatre.

تحولات بنية التطهير في النص المسرحي == Transformations of Structure Catharsis In Dramatic Play

اسم المؤلف: محمد مهدي حسون راهي المياحي
اسم المشرف: يوسف رشيد جبر
الموضوع العام: الفنون الجميلة
السنة: 2015
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يخوض البحث الحالي في دراسة المفهوم الجمالي للتطهير وتحولات البناء الفني للتطهير، بوصفه غائية بنائية يقاس على وفقها تحولات المنظور الجمالي للمنتج الابداعي، وضمن الفضاء التاريخي لهذا المنجز، في زمانه ومكانه..فالتطهير هو موقف للذات تعانيه باشتراطات تجربتها | Since his first steps in existence, the human being followed mental or sentimental or instinctive activities in order to reach to the state of tranquility and stress reduction between the requirements of the self and its propensity for differentiation in this world, and between the conditions of the world and its laws. These activities were issued by the first act of the human, starting by worship, and through worship came tranquility which leads to the power of the ritual and the flooding of spiritual energy of the self being differentiated in this world and reforming the conditions in the line with the self, i.e. changing the world humanly and this is the principle of the civilization. Through the evolution of repetitive practice of worship and the growth of its aesthetic awareness, emerged the art work and the aesthetic practice which its basic point is catharsis.In a philosophical perspective through bilateral self/world argumentative conflict, the self gains some of the world`s themes. These themes forms through their hazards and threats to the self, a prior criterion to moral and manners standards such as; danger, panic, fear, murder and loss. These are threats by the world, and their opposites are the need of the self to what is against them to sustain survival such as; safety, peace, tranquility, goodness, justice, honor, loyalty and honesty. But the fact that the outside world is always threatening, keeps the self in constant sufferings for the absence of the catharsis out of the art work and the aesthetic experience, which must be the basic aspect in the creative structure of the work - theatre. when it is there, the aesthetic factor is also there but when it is absent, the whole experience is becoming incomplete. Therefore, the multiplicity of artistic structure of the text as a basis of theatrical presentation, which leads to catharsis and that was what occurred of shifts in the functional concept of catharsis. Thus, this study comes to explain the concepts and procedures of the transformations of structure catharsis in theatrical text. In the light of this study, the following chapters have been resulted : Chapter One : the methodological framework that contained the problem, the significance and the limits of the study; in addition to identifying some of the idioms mentioned throughout the whole study.Chapter Two : the theoretical framework that contained the following sections : Section One : Catharsis in philosophical speechFirst Hub : Catharsis in Metaphysics Speech / Classical Second Hub : Catharsis in Modernism Speech / Realism Third Hub : Catharsis in Postmodernism Speech / Expressionism Section Two : the Mechanisms of Catharsis in the elements of dramatic structure First Hub : Catharsis in PlotSecond Hub : catharsis in personality Third Hub : Catharsis in ThoughtForth Hub : Catharsis in LanguageSection Three : Aesthetics of catharsis in theatrical speech / Indications of the theoretical framework and previous studies. Section Three : the Procedural chapter in which samples had been analyzed as follows : 1. The play of "Oedipus the King" of the Greek writer Sophocles - translated by Taha Hussein.2. The play of " al - huor al - ryahi" of the Iraq writer abed alrazaq abed alwahid.3. The play of "the House of Agoesar Holm" of the Norwegian writer Henrik Ibsen - translated by Tamader Tawfik.4. The play of " Ana omak yashaker " of the Iraq writer Yosef Al - any.5. The play of " allawha" of the british writer Harold pinter.6. The play of " Mythical Reality" of the Iraqi writer Ali Abd al - Nabi al - ZaidiChapter Four : it contained the results, conclusions and recommendations. Then, a list of sources, references and an abstract in English.

تحولات الاداء التراجيكوميدي للممثل في عروض المسرح العراقي == The Tragic - Comic Changes of The Actor Performance In The Shows of Iraqi Theatre

اسم المؤلف: هنادي صلاح عزت
اسم المشرف: مصطفى تركي السالم
الموضوع العام: الفنون الجميلة
السنة: 2014
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: كثيرة هي ثنائيات الحياة، اذ ظلت دافعا للفلاسفة، والعلماء، والمفكرين، لتناولها كل بحسب افقه ومضماره، فكانت ثنائية الليل والنهار، والحياة والموت، والخير والشر ثنائيات كبرى تناسلت منها ثنائيات لا تعد، ولعل الفرح والحزن من بين ابرز الثنائيات التي اخضعها الفل | So many are the dualities that are still incentives forPhilosophers, scientists and thinkers. Each of them deals with dualities within his horizon and aspect. There are the dualities of the night and day, the life and death, the good and evil and so on. Great dualities gave birth to uncountable dualities and perhaps the duality of joy and sadness forms the most distinguished one that the philosophers, since the Greek era up to nowadays, have submitted to test, analysis and derivation. Thus the duality of ( tragedy ) and ( comedy ) was born from it : the two phases which filled the pages of knowledge in general and literature and art especially , and the drama found rich wideness in sequence of thoughts and studies which are connected with them and expressing them as well. Perhaps the articulation of change between them, and moving from one side to another, are regarded a complementary corner for each of them. So the Greek poets and those who came on theatre after them, began to deal with these changes in the structure if their texts, and extended to the textile of the show and found theorization and a wide expansion in many theatre works. Besides, many titles were derived from that duality and its changes. This allowed the concept of ( tragic - comic ) appear as a complete , uniting concept for that everlasting duality in literature generally and in ( the art of performance ) especially , due to the changes that the actor performance acts through the duality of ( voice ) and ( body ) that he embodies through them a fantastic world bearing within it a contrary duality in form and content.As the researchers have dealt with each side separately, the articulations of moving and changes did not find that amount of care in spite of its significance , and this made the researcher go deeply into this subject, trying to discover the nature of ( voice ) and ( movement ) changes in the action of changing and the incentives which lead to it, after a round of the researcher through specialized literary works and found that no one had preceded her in studying the actor performance and its changes both on ( voice ) and ( movement ) levels , and this made her study and choose it as an aspect for her research , choosing for it the address : ( The tragic - comic changes of the actor performance in the shows of Iraqi theatre ). In order to reach the aims of the study, the researcher has drawn the ways of her research in four chapters containingThe following : The first chapter : the curricular frame through examining the research problem and the need for the research. It also contains the significance, purposes and limits of the research, defining its fundamental terms. The second chapter contains the theoretical frame through the following items of study : 1 - The elements of tragic - comic changes in the theatre show. 2 - Tragic - comic performance styles. 3 - The concept of tragic - comic performance and its incentives in the world theatre. 4 - The previous studies. The researcher then concluded the fundamental pointers through her round in the theoretical frame, dividing it into three standards : 1 - The standard of the specifics of tragic performance of the actor. 2 - The standard of the specifics of comic performance of the actor. 3 - The standard of the specifics of tragic - comic performance of the actor. The researcher has specified the third chapter to define the procedures that she has adopted to achieve her purposes as she aimed to make an exploratory study to define the community of research and look over its samples which represents it much , starting out from the standards of the theoretical frame which are carried by its pointers. The study has contained the following two stages : First : Preparing the procedural tool of research represented by a (questionnaire form : close - open ) by a committee of experts from specialists in theatre art , in order to achieve the validity of the tool ,and in the light of its items , the community of research has been reconnoitered to harmonize with the standards of the research. Secondly : Defining the samples of research which are the most representatives of the society , through a ( judges committee )from specialists and others , to assert to the researcher the exactness of the test and its scientism Thus the following play shows have obtained the higher rate in representing society and which the researcher has adopted as samples of the research : 1 - " Sorry Sir. I did not mean that "(Aa tither ultrathin lam aqsud thalik) directed by Haitham Abdulrazzaq. 2 - " Barring wandering "(Hather Tigwal) directed by Muhannad Hadi 3 - " A Prove in the Hell" (Prova fi Jahanam) directed by Hadi al - Mahdi 4 - " Curtain" (Burda) directed by Ghassan Ismail. 5 - " Female Play" (Azif Nisai) directed by Sinsn SL - Azzawi. The third chapter ended with a summary of the research results, while the fourth chapter contained a discussion of the research results according to indicators of the theoretical frame to reach the results of which the following are the most distinguished : The differences in the vocal and movement harmonies of the (Iraqi actor) are those which defined the direction of the changing moment in the tragic - comic performance of the character. Dealing the (Iraqi actor), in the moments of his performing changes. With different body movements besides (dancing) which the tragic - comic character has invested in many situations to distinguish the contradictions in the mood states and deepens the act of changing.Twinning the colloquial and standard language in the performance of Iraqi actor as reflection of the environment and acquired habits in the Iraqi society. This chapter has also involved the recommendations and proposals which the researcher has suggested and found that they are complementary to her present study, with a list of sources and supplements and an abstract in English.

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

اسم المؤلف: جبار محيبس مجيد
اسم المشرف: صلاح مهدي القصب
الموضوع العام: الفنون الجميلة
السنة: 2009
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يتكون البحث المعنون ( المغايرة في تجارب المخرجين المسرحيين الشباب في العراق من 1990 - 2009 )من اربعة فصول، قسم الباحث هذه الفصول الى مباحث فرعية يتضمن الفصل الاول الاطار المنهجي ومشكلة البحث والحاجة اليه ثم تناول الباحث اهمية البحث وحدود البحث الموضوعية

تجارب المسرح الاكاديمي العراقي ما بعد التغيير : نماذج مختارة == University of Baghdad College of Fine Arts Post - Change Iraqi Academic Theatrical Experiences (Selected Samples)

اسم المؤلف: نبا جبار مناحي الربيعي
اسم المشرف: عقيل مهدي يوسف
الموضوع العام: الفنون الجميلة
السنة: 2015
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: التجربة المسرحية هي تقديم عرض له مرتكزات علمية تربوية رصينة يهدف من خلالها المخرج تقديم عرضا مسرحيا متكامل العناصر، قدر الامكان ومقاربة الابتكارات المسرحية الجديدة. بالاعتماد على الاكاديمي وهو المنهاج العلمي الذي يعتمده الاستاذ المسرحي التربوي، في تقديم | A theatrical experience is merely a presentation based on firm scientific and educational elements, through which a director aims at presenting, as possible as he can, an integrated theatrical performance, and at approximating new theatrical innovations. Depending on the scientific methodological approach which the theatrical academic professors usually adopt in presenting a qualified theatrical experience on applied scientific bases and theoretical principles, specified objectives and outcomes are brought about and they consequently formulate the elements of any academic theatrical performance in a way parallel to the targeted artistic model. This study mainly aims at discussing the significance of (Academic Director), as well as the main educational additions which can be identified by the innovative achievements of the Iraqi theatrical academic director, in an attempt to point out the most successful educational and scientific achievements within the academic institution, and the means and methods adopted to fulfill this aim. The researcher, in her study entitled "Post - Change Iraqi Theatrical Academic Experiences", has discussed the theme of Iraqi professional academic director. The study deals with four chapters : 1 - Chapter one : The methodological Framework. This chapter deals with the problem, its significance and necessity; aims of the study; the spatial and time limits of the study; terminology and its definition.2 - Chapter Two : The Theoretical Framework. It consists of three sections : - Section One : the global concept of Theatrical Experience. It has been divided according to the study of ancient international experiences. After the introduction, the researcher discusses the concept of experience, main definitions, and elements of experience in the international theatre and, then, the main innovative streams of the theatrical experiences. - Section Two : the influence of political and social changes over theatrical performance. This section includes an introduction, followed by two subsections. The first casts light on the main contemporary schools and trends which greatly influenced by the recent political and social changes. On the other hand, the second subsection discusses the impact of political and social changes over the contemporary European theatre, as well as the most important theatrical achievements in Europe, which , within their performances, greatly affected by politics and social life. - Section Three : the concept of academic theatre on Arab and Iraqi levels. This section is divided to five subsections that deal, after an introduction, with Arab academic theatre, Arab academic director, academic theatre in Syria, academic theatre in Iraq, and the concept of academic director on the Iraqi level, respectively. The researcher has also referred to the phenomenon of the professional academic director in the Arab and Iraqi theatre. The main indicators of the theoretical framework of the study have also been presented by the researcher. They have been applied and tested on some Iraqi theatrical performances by college of Fine Arts\ Theatrical arts Department, in Baghdad, by a number of Iraqi professional academic directors. Previous literature related to acting and directing have also presented and chronologically arranged as follows : A - Bahaa Zuhair Kadhim : Features of Theatrical Performance in the Experimental Theatre in the performances of the College of Fine Arts, 2012.B - Yusuf Hashim : Features of Experimentalism in the Iraqi Academic Theatre, 2014. 3 - Chapter Three (procedures of the study) : In this chapter, a sample has been selected depending on a comprehensive investigation for theatrical performances from 2005 to 2015. The sample has been deliberately selected due to the diversity of these performances to the Iraqi academic director. The researcher thus adopts the (descriptive) approach in studying and analyzing the sample. The study's tools consist of the indicators of the theoretical framework, documents such as books, magazines, CDs, photographs, and notes, which the researcher utilized to pursue certain academic levels, starting from writing, presentation, directing and all the additions that characterize the reliable theatrical performances. The samples selected by the researcher are as follows : a - Al - Hussein Alaan (Hussein Now) , a play directed by Aqeel Mahdi Yusuf. b - Maradh alSharq Dimoqrati (East Disease is Democratic), a play directed by Haitham Abdul Razzaq. c - Ghareeb al - Dar (a stranger), a play directed by Zuhair Kadhim Alwan. 4 - Chapter Four (results and conclusions) : In this chapter results, conclusions, suggestions, recommendations, a list of references, appendices, and an abstract in English have been pinpointed.

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

اسم المؤلف: براء شكيب اكرم الصالحي
اسم المشرف: روعة بهنام الشعاوي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
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.

التفاعلية بين الضوء والمنظر في انتاج دلالة العرض المسرحي == Interactive Between Light And The View In The Production of A Theatrical Show

اسم المؤلف: فلاح كاظم حسين سلمان
اسم المشرف: رياض شهيد علي الباهلي
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون المسرحية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: ان مسالة تكامل الفكر الانساني تجاوزت تداخل العلوم المتعاصرة لتعطي بعدا تفاعليا اخر، وهو ان الفكر الانساني في اي حقبة ليس وليد لحظته، وانما هو تراكم فكري منذ بدا الانسان الاول تجاربه واكتساب معارفه وخبراته، وهذا يعني ان تشكل معارف الانسان اليوم ليس من انت | The issue of the integration of human thoughts beyond the issue of overlapping Science Almtasrh to give dimension to interactive else , which is that human thoug in any era not the result of zth , but it is the accumulation of intellectual since the eginning of the first human experiments and the acquisition of nowledge and experience , and this means that constitute the human nowledge today is not the production era it is consequential to what preceded the production of an intellectual , and verlapping with, has also become interactive according to data recent tudies impact open Tagged reacts and Itlahak with it , as everyone with one intention , which is the same that the *problems which saw *phenomenology , it establishes in the world and Deitna humanitarian progress is not philosopher and psychologist only , but the artist also assertions raise Tfaalath technical creativity , and then he basically for something for the world to submit views and images are open , and that Aaadana always something else we see who shows the convergence of art in the form of what can be called Baltmathlat in infrastructure " ( ) , and because theater is a human activity provides the shape and composition of the creator aims to retrieve the life experience of self , or the structure of a virtual experience virtual produced fantasy conscious within formats and builders of light revealing the contents of the environment implausible and interaction by the receiver where the logical relationship that is supposed to be between the real world and the world of the assumption that is an interactive theater so that it is viewable add intellectual and conceptual knowledge to his regime , it is not only in accordance with the artistic vision and aesthetic intentionally designed to be employed in the technical structure of the play , in order to have a public value in an impressive receiver.The aim of the technical development of the industry landscape playwright and use be linked to meeting specific requirements in terms of reducing the effort required to perform the job with industry conditions and appropriate elements aimed at creating a sensual pleasure associated with the senses of all , it has undergone the light of the developments of several technical , different ages, and varied its importance in each point in time , and within the overlap speed and technology , it has been breached theatrical space , the move paved the way for the theater to get out of rigidity within the forms adopted modern technology in the formation of light dependent uses synthetic within the relationship - related interactive and technical transformation for those elements that formed a quantum leap in the origination and achieve good business where not addressed by researchers in addressing this aspect to maintain the continuity of the bid and raise the offer theater , so the researcher finds that puts search an indication of the importance of light and its role within the relationship of synthetic and nature of the energy proliferating in the production of the play by the qualitative and the application of the method and details are done , so it will answer the researcher on the following question : Mather interaction relationship between the light and the view through the installation process and advanced technologies to produce the display indication , here was a proposal from the title search ( ( interactive between light and landscape in the production of theatrical presentation indication)).

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

اسم المؤلف: سرى جاسم خيون الساعدي
اسم المشرف: مصطفى تركي السالم
الموضوع العام: الفنون الجميلة
السنة: 2009
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The developments of societies throughout various periods have yielded many philosophies and ideas in dramatic arts for the historical extension. It is a language that surpasses all the local idioms to address the whole world. The development that the societies have witnessed in all stages has been reflected in the contents of drama in general to appear various trends and methods. That has been expanded with the expansion of the social, intellectual and aesthetic needs of society to be richer practices that were crystallize in the form of dramatic shows as groups and systems. Undoubtedly, the lingual and acoustic messages do not abolish the importance of visual aspects in transforming the dramatic message. All that exists on the stage are signs that have come to express an intentional delivery to form visual images such as (costume, décor, action, etc.). The ceniograph works as completely as signs that make these references whose temporary becoming on stage leaves for imaginative factors. Thus, the dramatic work becomes a net governed by the system of showing that achieves the integrated harmony between what is acoustic and what is visual, in which costume plays as one of the signal systems that communicate with other signs in different designed methods and styles within the accumulated organic sequences that communicate that completes the general effect of the show throughout the consequential doctrines. The production of costumes to connate more rich meanings, through the harmonious interrelated elements that form signal systems smaller in the general costumes (color, shape, lining, and crude) which have taken the effectiveness pf costume as one of the semantic signs along with other signs of show on the intellectual, artistic and aesthetic levels and within various courses. This mechanism has led to researcher to trace the semantic of costume throughout various periods, and how to relate them into the signs of show and determine the aesthetic function of costumes in order to achieve this integral mechanism. The study falls into five chapters : The first chapter (Methodological Framework) which included the problem, the needs for the study, objectives and its limits as, as well as determining the definition of terms adjectively. The second chapter tackled the theoretical framework of the study in five inquiries. The first inquiry dealt with the semantic information of costumes in two pivots : the first is about the composing elements of costumes as a mark of drama, while the second tackled the integration that indicates the structural relationship between costumes and dramatic show. The third inquiry was devoted to the semantic transformations of costumes in the light of the trends and visions in the dramatic shows. The fourth inquiry tackled the pervious studies the most important indications that resulted from the theorticval framework. The researcher devoted her third chapter for the procedures, methods, instrument and of the study, the analysis of three samples : the plays (Media), (Othello in Kitchen) and Macbeth. These samples are considered as distinguished oeuvres of drama. The chapter was concluded with a summary of the results that the researcher has come to. While the fourth chapter was devoted to the discussion of the results of the study according to the derivatives of the theoretical framework to deduct conclusions for the integral answers of the objectives of the study. In the light of the conclusions, the researcher formed the recommendations that enhances through the investment of the results and outcome sof the study, which is achieved in the middle of the field. Finally, the researcher presents what she finds suitable for suggestion in order to complete this study and giving its due interest. Then, it ended with a list of references and resources which she used, followed by the document and an abstract.I hope I was successful in my endeavors, God is the destination for all…

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.

المكون الصوري بين التشفير والتاويل في القراءة الاخراجية : فاضل خليل انموذجا == The Image Components Between Encoding And Interpretation In The Directorial Reading (Fadhil Khalel Example)

اسم المؤلف: حيدر حسن عبيد
اسم المشرف: عقيل مهدي يوسف
الموضوع العام: الفنون الجميلة
السنة: 2012
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: ينطلق البحث في محاولة لرصد عمليتي التشفير والتاويل للمكون الصوري للعرض باعتبار ان العرض المسرحي عملية تواصل تعتمد على وجود خطاب مكون من مجموعة رسائل توجه بشكل قصدي من قبل باث الى مستلم ليقوم المستلم بقرائتها ولا يمكن قراءة هذه الرسائل الا بفك شفراتها، ان | The research attempts to monitor the process of encoding and interpretation of the image component of the show, that the theatrical is a communication process which depends on a speech containing a group of message which are deliberately directed by a broadcaster to a receiver whom will read the message which cannot be read unless their codes will be decoded. The first component for any mark or a message depends on the internal relation process between the gesticulation and meaning among the marks in the directed message.Theses internal relations are the roles which govern the way of encoding to generate the marks of the theatrical show as sequence image show in a period of time, theses image consist of two parts the first is the visual component and the second is the invisible component and by the unity of these two parts produce the image component which contains show message that consist of the marks, these marks contain the gesticulation and meaning that are connected by the low of the code. Throughout this code the interpretational reading of the show will be achieved and by encoding, from the text to the image and the reading from the image to the meaning, the aesthetic distances will be established of the process of the encoding and interpretation that belongs to the image component of the theatrical show.Thus this mechanism represents an attempt to recognize the means of the encoding, the interpretation and the marks guiding of the image components of the theatrical show starting from its change to image code, ending to the interpretational meaning.The study includes (the image components between encoding and interpretation in the directorial reading Fadhil Khalel example) the four chapter are as follows : The first chapter (the approach framework) we dealt with the problem of the research and how to convert the visual to invisible and vice versa, throughout the process of encoding and the interpretation which are the based on cinematic thesis in order to figure out the way that these changes arise from the text to image and the way of establishing the image components of the show, this chapter includes : 1 - the problem of the research.2 - the significance of the research.3 - the objectives of the research.4 - the limits of the research.5 - identifying the terms.The second chapter includes the (theoretical framework)in which theorizing the rules, that were established, have been dealt. throughout these rules, the aesthetic process of encoding and interpretation that belongs to the image component of the theatrical show will be accomplished.this chapter include four section : 1 - section one : the concept of the image components between the visual and the invisible : in this section we discussed the theories and the opinions about establishing the image and how the imaginations interfere with the material in order to form a component relies on the artistic creative process.2 - section two : the encoding of the image component : in this section we discussed how recognize the formation the code and its change from the text to the image with various levels as well as the types of the codes and its derivatives.3 - section three : interpretation of image component : in this section we discussed how the interpretational reading has been formed depending on the process of encoding and creating a superficial and deep meaning, in addition to the most prominent interpretational theories and what is the definite and indefinite interpretation. 4 - section four : aesthetic values of encoding process and interpretation of image component : in this chapter we discussed the aesthetic process of encoding as well as delivering examples of different codes which discovered throughout a creative process by modern playwrights and the matter that led to perceptions which are different and interpretational.Then the researcher discussed previous studies which are concerned with the encoding and the interpretation and the obtained the results of the research theoretical framework for analyzing experimenting the samples.The third chapter (the procedures of the research) discussed two topics : 1 - the approach of the research : as the analyzing descriptive approach has been adopted.2 - discussing the sample which has deliberately chosen and analyzing it according to the parameters which had been concluded from the theoretical framework, the sample had been formed from three shows of the Iraqi director Fadhil Khalel. 1 - Cedra2 - Fi Aeali al hob3 - HerostradThe fourth chapter includes the result of the research : The research came out with conclusions and suggestion, then recommendations of the research which asserted the significance of the process of encoding and interpretation in addition to the necessity of expanding the work with it. Attached with the list of the research and a summery in English.

الاساليب الشعرية في النص المسرحي == Styles Poetics In The Theatrical Text

اسم المؤلف: عبلة عباس خضير
اسم المشرف: عبد المرسل فليح الزيدي
الموضوع العام: الفنون الجميلة
السنة: 2011
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: This research deals with the conceptions of poeticalness as they are considered significant ingredients for the formation and construction of contemporary dramatic texts. Because the dramatic text can provide suspense, tension and curiosity for the recipient throughout the dramatic structure molded with the poetic components and techniques, poetry forms an action factor in the formation of the discourse of the contemporary dramatic text which makes use at the poetic structure and methods, so that new spaces are made available for the recipient to mark a scenario between the essence of the text and the essence of the recipient to produce the meaning contained in the dramatic text in a form that is like a chemical equation with different results according to the nature of the mixed materials which represent in this connection the text and the recipient, and thus poetry opens wide directions and lines for their entrance into the domain of meaning. Therefore, the researcher finds it important to study the conceptions of poeticalness and how they work with in the dramatic text, and their aesthetic values. The study is made an analytical one for the sake of finding out the components of the dramatic text, as seen throughout this perspective, which plays, at a high level, its role in the contemporary textual discourses as a whole. The researcher has set a plan for achieving this aim. The plan is summed up as follows : The researcher presents the first chapter which consists of the problem of the research, its significance and aims. Chapter Two is divided in to the following sections : Section one : The concept of poetical nessSection Two : Techniques of poeticalness and the systems of the dramatic conflict. It consists of : First : The poeticalness of rhythm in the dramatic text. A. RepetitionB. ContrastC. Juxtapontions and parallelsSecondly : poetical ness of the structural phenomena : A. Brevity B. Violations of the rulesC. Role transformationD. Emphasis and EllipsisThirdly : The poeticalness of meaning : metaphorical meaning Section Three deal with the aesthetic poetic levels in the dramatic text.Chapter Three presents an analysis of the samples according to the theoretical references. The samples are chosen from effective and typical specimens according to the level the dramatic writings and compositions in Iraq. The Plays chosen are : 1 - Speak o Stone, by Muhaiy AL_Dean Zangana2 - A City Full of Knives, by Jaleel Al_Qaisi3 - The Nights, by Dr. AKeel Mahdi4 - The Door, by Yousif AL_Saig. 5 - Heaven opens lately, Falah shakir Chapter Four consists of the findings reached at by the researcher throughout analyzing the chosen samples conducive to the results, recommendations and suggestion, which contribute to shedding more light on the conception of poetical ness. Then The researcher has attached this research with a bibliography, which shows the reference books the researcher has adopted during the course of this research and study. The researcher has also made an outline of this study in the English language.

السمات الاثنوغرافية لاداء الممثل في العرض المسرح العراقي == Ethnographic Features of The Actor`S Performance In Iraqi Theatre

اسم المؤلف: منتصر مجيد ابراهيم
اسم المشرف: هيثم عبد الرزاق علي
الموضوع العام: الفنون الجميلة
السنة: 2015
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: Ethnographic studies represent one of the scientific sources which grows from the art of theatre. it is due to the huge abilities of theatre in embodying life, expressing societies, revealing life nature by its precise details, and recognizing races and tribes, as well as embodying the décor and props of the place of the show. It finally comes the performance of the actor and the ways used to approach the character being played. The actor shapes the most important nerve in the show, especially as he guides the events and expresses actions through his emotions, gestures, costumes and accessories. So, it is the actor and his body, specifically, that is of great importance in conveying information and provides thoughts. So, out of this creative overlap between the art of theatre and the science of Ethnography, the researcher has identified his research title as : (Ethnographic Features of the Actor`s Performance in Iraqi Theatre). the researcher has divided his research into four chapters as follows : Chapter one includes The methodological framework as the following : ? The problem of the research which is defined by the following question : what are the ethnographic features of the actor`s performance in Iraqi theatre?? The importance of the research as well as the need for it, the aims and the limits of the research. The researcher also has defined the terms that has been used throughout the research.Chapter two includes the theoretical framework and the previous studies. The researcher has divided this chapter into three sections : Section one : Ethnography - the concept and the features : this section discusses the features and the concept of Ethnography - types and functions.Section two : Ethnographic datum in structuring the theatrical character : it discusses the ethnographic relationships with the elements of the theatrical show.Section three : Ethnographic Indications in the actor`s performance : the researcher discusses the nature of theatre indications and how they are functionalized in the show, particularly, the body of the actor.Then, the previous studies has been discussed and finally the researcher has reached for the indications of the theoretical framework and build them as indications for analyzing the sample.Chapter three includes the procedures of the research. Three Iraqi Plays are analyzed as being the samples : 1. Romeo and Juliet in Baghdad - prepared and directed by Munadil Dawud2. The Cobbler - written and directed by Akeel Mahdi3. Massoud`s Dream - prepared and directed by Eawatif NaeimChapter four includes the results and conclusions. it includes the results that the researcher has reached for through analyzing samples. It also includes the conclusions, recommendations, proposals, resources and references, and finally an abstract in English.

اداء الممثل ومقارباته الحركية والايمائية للموروث الشعبي في العرض المسرحي العراقي == The Work of The Actor And His Movement And Gestures Approaches To The Popular Tradition In The Iraqi Theatrical Performance

اسم المؤلف: عقيل ماجد حامد محمد الملا حسن
اسم المشرف: وليد شامل حسين
الموضوع العام: الفنون الجميلة
السنة: 2011
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يتناول البحث دراسة المقاربات الحركية والايمائية للموروث الشعبي عن طريق اداء الممثل المسرحي ولاسيما في المسرح العراقي، والمتمثل بالعادات والتقاليد والمعتقدات التي تسود المجتمعات، منطلقا من البدائية واداء الرقصات والشعائر على مختلف اشكالها، وبحسب ما تحتو | This research studies the movement and gesture approaches to the popular traditions especially customs traditions and beliefs ,through the stage actors performance starting from performance different dances and rituals that belong to each area or environment. Most of the contemporary stage directors could re - read these traditions in different and variable ways making the stage actor a means for expressing these traditions beliefs represented by ceremonial aspects. Based on what is mentioned above , the research is divided into four chapters.The first chapter deals with the systematic frame work that includes the problem and the need of the research and its importance aims , and limits as swell as determining and defining teruninology.The research problem comes into vieuo through the question : ( The Work of the actor and his Movement and gestures approaches to the popular Tradition in the Iraqi theatrical performance ) the importance of research lies in the observing the performance achieved in the stage show through the peoples tradition embodied by the actor on the stage using his motional and sound tools with cognitive aesthetic implications that help him find a way of theatrical performance. for this reason this research has a cognitive importance in presenting an objective study for the researchers in theater sciences. The aim of the research is to identify the motional and mimic approaches to the peoples tradition via the stage actors performance. the limits of research are restricted to study the way the actor deals with his tools and elements surrounding him through his embodiment of a character from an intended chosen samples from Iraqi theatrical performance (1970 - 1990) that were shown on Baghdad stage. The researcher ended this chapter with determing the terminology including : ( performance , approach , motion , mime , folklore , heritage ) and defining then procedurally while chapter tow (theoretical - framework ) contains three (studies) the first (study) pupelar tradition , referenees …. Performance. The Second study (movement and gesture in popular tradition ) the third study (Inspiring the popular tradition on contemperary stage and the technique of performance ) it refers to the most important indications which the theoretical framework house made elear and followed by previous studies. The third chapter is specialized in the procedures of the research which contains research community , sample of research , method and tool of research the chased samples from the Iraqi theatrical shows have been analized after making the field survey on them which are more than 80 performance to reach the optimum results , these performance was submitted to a commity of experts in theatre arts (direction acting , arts , critisim) who were 9 experts. after hawing seen them , three shows have been chose for getting the votes of the commity of the experts : 1 - play of Baghdad the eternity between seriousuess andcomedy Directed by Kasim mohaed.2 - play of Sharea , Directed by Dr. Fadhil Khaleel.3_ Play of Makamat ABI Alward Directed by Ibraheem alal. The Fourth chapter includes the summary of results and conclusions that the researcher reached by sample analysis related to the reaeourch aims. This chapter has the rwsearchers suggestions and recommendations as well a list of sourced refrences photo and annexes. Ending the research with English Abstract.

وظيفة القراءة والتلقي في تشكيل معنى العرض المسرحي العراقي == Function of Reading And Reception For Forming The Meaning of Iraqi Theatrical Show

اسم المؤلف: عمر فاروق محمد
اسم المشرف: سافرة ناجي جاسم
الموضوع العام: الفنون الجميلة
السنة: 2014
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: Reading is considered as an interactional space between sender, recept - ionist and the message which acts as a mediator through them. So without read - ing action, the invention achievement is not fulfilled, particularly in theatrical di - scourse since reading itself forms the mental dimension and effects the audient - the reader actor, because receiver in theatrical discourse typifies the intellectual presence of text and show in same time. So reading symbols as a connection channel of its aesthetical service which forms the meaning of Iraqi theatrical show. Interpretation and its conception which assume as reading tools discuss with the achievement of invention for discovering the explicit meaning in the show, especially contemporary show. Brecht said : “Our audient’s decaycomes from lack of knowledge that both audient and theatre do not know what should appear on the stage”1. The research has divided in to four chapters. First contains the methodical frame and the problem of research. The emergence of reading and reception methods changed the rout of critique to follow the innovation, and taking from these methods a new way about recipient role and reading deed to reform critique looking in creating show, and exuded new different ways of relationship with the receiver. So, from research question we could ask … “Does the creator of Iraqi theatrical show use reading and reception methods as a new way and aesthetical dimension to build his attitude to his show”. Depending on this, the researcher shaped his research title “Function of reading and reception to forge the meaning of Iraqi theatrical show”. The importance of research is to raise a critiqued study to Iraqi theatrical show depending on reading and reception methods for reforming the theatrical show. In addition, theresearch introduced an assumed plan of strategic pattern to read, receive and explain theatrical show to release audient - receiver from what has been obstructed him before. It sprang up the variation of theatrical practice among contemporary cultures. Then research defined some of sides that can benefit from it. And the goal of research tried to discover the track of reading and reception to reform the meaning of the theatrical show, the limit of objective research locally and temporally, and ended 1 Brecht, Bertolt : Epic Theatre, translator : Jameel Nasef, Baghdah - Al Hurria publishing, 1973 the chapter with defining some expressions which limited on ‘function’ only and leaving the others to theoretical frame. Chapter two (theoretical frame) has three topics; everyone has a part of the title to set up the basis which can be as a starting ground for its procedures. First topic held the title (reading) which has displayed how this term has changed and established from the past until now, tools and the relationship with the (doer - the reader) that does the act. Second topic titled (reception) because of the subject significance to review the way of studying the drama, and dealt with some sides that we often ignored them like; audient as a person and a member of certain culture, his own expectation horizon which is formed by that culture frame, choosing specific events to participate in, and currently developing in dramatic studies, which gave the audient the way to be free from the theatrical show’s capture. So it is not required from this topic (reception) to describe audient’s response to a certain show. Third topic (forming the meaning) which this research discussed this through the relation with reading, reception, and receive. And theoretical frame ended by choosing two reception samples toanalyze, (external reception theory) and (internal reception theory).Chapter three (procedures of research) analyzed and studied specific samples. Then the researcher has examined show reading, through prepared text, or created one, or some other texts stand basically on other texts, and comparing them with originalpieces which leaded to value the theatrical figure more precisely. Chapter four enclosed the results and the conclusions. Some of results are; 1 - Waste the postponed meaning because the show juThe conclusions which became our answer to the researchquestion is;1 - Reading and reception function has participated in theatrical show more effectively for out put the meaning which is made it to reform inside the show not out of it

البنية الدرامية والايديولوجية في نصوص محي الدين زنكنه المسرحية

اسم المؤلف: عباس فاضل عباس
اسم المشرف: سافرة ناجي جاسم
الموضوع العام: الفنون الجميلة
السنة: 2014
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: Ideology shapes the theme of man’s struggle. Because it represent the conflict of different wills about a subject. So it is really one of man’s struggle ways in the existence, and it’s his dramatically problem with it. It becomes the motive to many philosophers and writers. As theatre considers one of mind’s systems, which discovers the clash dimension, and it rests on it, the ideology frames on his ideas, which the theatrical texts declare this or that ideology through an aesthetical investment. And with in, the playwright states his attitude about any human matter, as the fate and human being, the problem between the authority and a person, religion complex and other intricate which were a space of resistance and contradiction.The playwright offered his aesthetical ideology based on his dramatically dealing that developed according the time needs, and the conception and political problems. In order to get the full cognitive of aesthetical and intellectual ideology delivered, the researcher divided his research to four chapters index of references, appendix of names and dating of publishing of Muhi Addin Zankana’s plays.The first chapter contains the problem of research which concentrated on the relationship between the theatre and its technique, then its relationship with people to embody their dreaming and agony, and leads to look for the dramatically structure distinguishof Zankana’s texts. And how the ideology appears inside the texts. The importance of research is to study the creative achievement of one of Iraqi dramatist significant, which we see that can add more knowledge. And be useful to theatrical studiers, and to the theatrical foundations.The aims of research : discover the characteristic of Zankan’s texts through technique and ideology. The limit of the research restricted locally in Iraq where Zankana had written all his plays. And chronically in the dramatic texts which published from ( 1859 - 2002 ). And objectively, it is a study and analysis of the technical structure and the intellectual of Zankana’s texts. The second chapter comprises the theoretical framework and previous studies and its discussion. It includes three topics. The first one heeds to the dramatic structure notion and reviews the dramatic structure of theatrical text from Aristo to these days. Historically, talkingabout the methods of writing plays. Second topic pays attention to the ideological meaning and its relationship to society classes. The relationship between the ideology and artists, and how it reflects in their works, the position of government authority from the opposites.The third topic is discussed the text connotation, then the text language structure, and the text semantically structure. The third chapter includes the research procedures which embraces the research society that involves Zankana’s plays, which extended around fourty years. Limit locally and temporally and broach to search method. The tools depend on the indicators that bring out the theoretical framework, as the main tool to analysis the samples, and to realize the research goal and solves its problem, reaching toscientific result. The chapter holds two fields of research, first, the dramatic structure of Zankan,s texts. Second, the ideology, how it is reflected inside the texts, and inside the playwright himself.The chapter four implies the results that the researcher reached, through analysis Zankana’s plays, which declare that Zankana used many methods from traditionalism to experimentalism to reach wider horizons. He was effected by Brecht, using his method to break out the traditional plot, push people to think about what is going on the stage, not to identify with it. Discussing the tragedy concept which destroys the heroes. Zankan’s interesting to the poetic prose, and to range his dialogue between dramatic and narration, because he wrote both plays and stories. And to put the idea of the character before its art structure.The conclusion of the research attained that Zankana is an ideological playwright, but he was not the type of writers that ideology can limit his work or capture his creation. His erudition and the high human feeling helped him to put the ideology under his hand, not the opposite. Ideology appears in his works through his choosing characters, their dialogue, actions. He was not talking friendly when he descried the capitalism class and its political or economical representatives. He strips of their sick behaviors, their slavery tobenefits and privileges, and how easy for them to commit the crimes without twinge of conscience. But he changed his situation, when he descried poor people. He is kind, a friend, caring them the best human feeling and actions. They sacrificed themselves to the others, refusing the injustice, and revolted against it

درامية التاريخ في نصوص المسرح الاحتفالي == Dramatic History In The Texts of The Festive Theater

اسم المؤلف: حسام عبد الستار عبد االجبار
اسم المشرف: رياض موسى سكران
الموضوع العام: الفنون الجميلة
السنة: 2015
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: رافقت الاحتفالية فن المسرح منذ عهد الاغريق، وذلك عن طريق ا الطقوس الراقصة التي كانت تؤديها الجوقة,، كما ظهر في وطننا العربي ما سمي بالجماعات المسرحية العربية التي تهدف جاهدة الى ايجاد هوية مميزه لمسرحنا العربي , ينقسم البحث الموسوم (درامية التاريخ في نصو | Find divided marked ((dramatic history in the texts of the festive theater)) Allier four chapters, the first chapter includes a methodological framework through research problem and the need for and importance, research, and purpose, and its limits, and then determine the terms . As the second chapter has included the theoretical framework of the research component of the three sections, the first entitled (the concept of drama in the theater ceremonial), which dealt with the evolution and emergence of the start of the celebration theater in various Arab countries and foreign while eating second section titled (relationship history in the drama), includes this section Ttoreddrama through the ages and the extent of the impact of history began with "eras of the Greeks to the Romans to the Middle Ages from the Arabs and then move to the third section is titled (the aesthetics of history in the drama) contains the philosophy department of the philosophers in the art and the extent of their relationship to the evolution of art A third chapter (research procedures) research community, who identified within the time period of the year (1970 to 2013), and research samples chosen way intentionality, namely, (a play shrines Abu Ward) authored just Kazem and directed by Ibrahim Jalal, and (theatrical nights Sumerian) authored a nice Dulaimi, and (a play on the Tour of Abu Othman yesterday now) written by Dr. Zuhair Kazem. Rely researcher descriptive analytical method for the analysis of specimens based on the texts of the play. The fourth chapter dealt with the search results, discussion and conclusions, and then recommendations, and proposals, and then the list of sources and references, and a list of supplements, and finally abstract in English

التوليد الدلالي للمخرج المؤلف في عروض المسرح العراقي المعاصر : جواد الاسدي انموذجا == Semantic Generative of The Director Playwright In The Contemporary Iraqi Theatrical Shows (With Special Reference To Jawad Al - Asadi)

اسم المؤلف: صميم حسب الله يحيى
اسم المشرف: صلاح مهدي القصب
الموضوع العام: الفنون الجميلة
السنة: 2012
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: تنوعت التجارب الاخراجية في القرن العشرين عبر اشتغال المخرج المسرحي على ازاحة البنية السردية للنص المسرحي باتجاه ايجاد بدائل بصرية تعبر عن المضامين التي يطرحها المؤلف لكنها لا تتطابق معها، وكان من جراء ذلك ان تحولت وظيفة المخرج من الالتزام بالنص الى تحويل | direction experiment century took many aspects through the work of stage director who tried to displace the narratological structure of the dramatic text favour of finding image alternatives that could express the contents presented by the playwright though it might not go in line with it.consequently the directors function turned from committing himself to the text to that of transforming his ideas in the intellectual and aesthetic dimensions for more comprehensive than those presented by the language of the text which the theatre director had neglected in various theatrical shows including Or the hand , the significance of the theatrical text , including its own aesthetics , continued to be part of the show lu fact, a group of directors uncle took to write plays in harmony with their theatrical opinions and views.Thus they established a new director playwright. Brecht , Dario FO and Richard Forman are the most prominent in world theatre.The resear hers has explored the most important characteristics of each one of them and , then , shifted to large theatre where there have been several experiments on the director playwright there represented by : Qassim Mohammed ,Aqil Mahdi ,Sadi Younis and Jawad Al - Asadi.The researcher has taken Iraq stage director Jawad Al - Asadi an a model for him research which contains the following four chapters.Chapter One : The Methodological Framework : The problem of the Research Study of the phenomenon (director playwright) and the disclosure of privacy that characterized the play texts written by the director, and by analyzing the distance between the structure of discourse, founder and intellectual energy and structural transformations in the field any distance between the text and director's vision. - The significance of the research : this can refer essentially to the stage director. - The aim of the research : This is represented by getting to know the mechanism or the aspects of semantic transformations that lead to the semantic generation by studding the distance between the theatrical discourse (the text) and the image reading in the theatrical shows of Jawad al - Asadi the director playwright. - Limitation of the research : (2000 - 2010). - Definition of terminology : this includes definition of the most prominent terms that are mentored in the dissertation the semantic generative , director playwright, the transformation.Chapter two : The theoretical From work : the included three sections : 1. The playwright director in the history of drama.2. Transformation of the sign in the experiments of the director playwright worldwide.3. The experiments of director playwright in Iraq theatre.Chapter three : procedures : - The dissertation includes six theatrical shows from (2000 to2010). - Method of sample selections : The researcher will adopt relatively arbitrary method in his selection of sampler. - The method of the research : the researcher will adopt the historical method in following the development of theatre in all its sphere.He will adopt the descriptive method in studying and analyzing the current artistic date and analyzing the sample. - Search Tools : this include the results of the theatrical from work, the documents , including books, magazines , periodicals , videos , photographs , and Note and comments.The researcher will depend on all there an important instruments in following the theatrical shows. - Analysis of the researchers samples : 1. Layali (nights) of Ahmed bin Majid.2. A Baghdadi Bath.3. Woman at war.Chapter four : Results and Conclusions : ( Results , Conclusions, suggestions, recommend , ations , List of sources and references, Supplements, abstract in English ).

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

اسم المؤلف: حيدر مجيد كاظم الوداي
اسم المشرف: حسين علي كاظم التكمه جي
الموضوع العام: الفنون الجميلة
السنة: 2009
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: ان للتكـويـن اهميـة كبـيرة فـي العـرض المسـرحـي، فـي بناء الصـورة البصـريـة بوصفها قيمة جمالـية وفكـريـة تبـث الشفرات الدلالـية، ثـم ياتي اثر المتلقـي فـي استقبال تـلك الشفـرات وفـك رمـوزها الـدلالـية، ويعـد الـتوازن مـن اهـم عناصر الـتكويـن، فضلا | The composition is very important in the theatrical show specially in the visual image construction as a aesthetic and mental value exposing the semiotic codes then it comes the viewer part in receiving those codes and resolve its symbols, the balance considered as one of the most important features of the composition such as symmetry, rhythm, extensive, harmony and construct. The un balanced image in the play cause inconvenience feeling, the balance used in the theater field involved within the evolution steps of the theater the both formal and informal balance had been used before the realism, later with the appearance of the realism contrast the theatre managers that all the types of balance are not enough to solve the balance problems due to the variety in the form of the visual image, due to that they started to use the balance used in the plastic art collecting the one which can be useful the theater art, so the esthetic balance became useful in solving the balance problems in the theatrical show. Due to that the researcher reached the conclusion that it now necessary to use some of the balance types in other fields and ad justified them in the theater show and its balance.In addition to the above and threw the researcher experience find out that there is a connection between the balance in the theater and the balance in the economic science in the formalizing the image, for the standards mentioned above the map of the research will be : Chapter one : includes the method used in the study(the problem, aims, and terms. Chapter two : represent a review of literature and a theoretical frame work and formal studies helped the researcher to conclude some points used as standards for the procedures. Chapter three : this chapter devoted to the procedures of the study which can lead the researcher to analyze the samples of the theatrical shows according to a special form of the consequences of the theoretical work in chapter two, the work of this chapter stands on analyzing three plays as a sample : 1 - the bedewen and the oriental. 2 - krewlanece. 3 - gelgamesh.4 - noterdam lamp. 5 - sedra Chapter four : this chapter devoted to mention the results of this study according to the procedures followed in chapter three, which can be summarized as follows : 1 - the esthetic composition condition had been fulfilled almost all the plays. 2 - there is a balanced unity between the masses ,forms, surface and the volumes. 3 - there is a contrast balance presents in all the plays. 4 - the image in the play is stabile. 5 - most of the plays are masterwork. 6 - most of the plays used one or two type of balance for the image structure. The conclusions : 1 - there were no clear stylistic personality for the Iraqi theatrical director to deal with the balance showed in the play. 2 - balance is a creative procedure and one of the methods that lead the play to high standard. 3 - all the theatrical balance types known are not enough to cover and solve all the balance problems in the show.

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...

الايقاع البصري في عروض المسرح العراقي

اسم المؤلف: ميادة مجيد امين الباجلان
اسم المشرف: قاسم مؤنس عزيز
الموضوع العام: الفنون الجميلة
السنة: 2009
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
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

الانزياح الدلالي في الخطاب المسرحي == Semantic Shift In The Theatrical Discourse To The Council of The Collage of Fine Arts As Partial Fulfillment of The Requirements of Master Degree

اسم المؤلف: سعاد نعمة حسين
اسم المشرف: رياض موسى سكران
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون المسرحية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: في المسرح تكتسب الاشياء التي تقوم بدور العلامات المسرحية مقومات خاصة وخصائص نوعية وصفات لا تملكها في الحياة الواقعية. بمعنى ان كل ما يكون في المسرح هو علامات ذات وظيفة دلالية , لان التجلي الحقيقي والواقعي للظواهر على خشبة المسرح يفقدها وظيفتها العملية ال | In the theater gaining things that play a role play elements of private labels and quality characteristics and qualities not possessed in real life. In the sense that everything will be in the theater is the signs of a semantic function, because the Transfiguration real and realistic phenomena on stage loses her job process, which seeks to clarify the role of the semantic code. At a time that is in the show theme in everyday life more important than its meaning, then lose the display structure of the task built a theater symbolic significance based upon the structure Avatar. Characterized by the nature of the play marks a special ability to produce connotations included, and the inclusion of this comes within the context of cultural, social or moral structures for special theatrical presentation of actors and spectators. Where you specify the semantics according to a tacit agreement between the supply and the future. In this context can be expressed decoration - for example - at the level of a particular social or cultural. It can reflect the fashion for a feature of the figures as attributes moral and social as well. Where in this process is gaining each additional sign of play semantics. As well as the real implications of each sign, there are indications, including the result of a cultural agreement implied about the significance of the sign, and this leads to the understanding of pluralism semantic markers in the theater. So it can be a sign of one of several indications that lead. The brand is characterized by high drama In dynamic because they lead to the exchange of elements play with each other, and this leads to the replacement of mutual formats to mark the play. In the display can mark certain belong to more than a certain format. The sense that the significance of the table can be produced for a certain movement performed by the body of the actor. The table that belong to the pattern is indicative decoration and then expressed by the body that belongs to the coordinated movement or gesture, and this is to be the representative element to generate President connotations place. That any actor can have is through a certain movement that depicts scenes of the existence of a river or a door or fence.... Etc.. Hence, we conclude that he can sign one play that kill jobs Tag is finished and this is what we are seeing in the theater mobster in general. And that the growth of the semantic probably was the cause of the occurrence of an objective process of semantic displacement in the texts, as the literature was not a specific connotation, like other sciences, or topics. It was the growth in the promotion of universal semantic earned him more than others. In order to reach the objectives of this study came four seasons and the following format : - In the first quarter it included a research problem by questioning follows is (Is there shift indicative discourse playwright?) And then came the importance of research which provides a critical study looking at the formation of the speech playwright through a variable displacement and movement semantic see the creative aesthetic and the light of the results from these visions of outputs in media discourse playwright as well as the benefit of students in the field of jurisdiction and stated aim of the research to reveal the offsets semantic discourse playwright and limits the temporal and spatial and objectivity of the research as limited offers on the province of Baghdad exclusively was the time period from 1995 until 2005, then touched search to define terms Thread. The second chapter came, including three sections of which the first interested in the concept of significance origination, development and care of the second part, in terms of the text and the significance of the display either the third section has himself to the concept of displacement semantic discourse theater and then came indicators theoretical framework approval to offer the detective to ask then explained the researcher that he there were not previous studies or a similar approach to study them. Then came the third quarter, which meant the samples were analyzed three samples are : 1. Othello in the kitchen to Sami Abdul Hamid 2. Play Macbeth directed by Salah reeds 3. Drama Ghost, directed by Adel Karim Find then concluded the fourth quarter, which included findings, conclusions and recommendations and proposals. Finally, Arab and foreign sources which Adopted researcher examined and then placed in the appendices and summary in English.

الاشتغالات التقنية في العرض المسرحي الايراني المعاصر == Technical Works In Contemporary Iranian Theatre

اسم المؤلف: علاء جبار مشكور
اسم المشرف: حيدر جواد كاظم العميدي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الفنون المسرحية - تقنيات
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: المسرح الايراني من المسارح العريقة عبر عن تطلعات المجتمع الايراني في مراحل مسيرته التاريخية كافة , فقد سادت فيه النزعة الاجتماعية، كتابة وعروضا وتقنيات , سادت فيه مجموعة من القيم التراثية القومية كادت ان تكون قوالب نموذجية نمطية تغلغلت في الكثير من عرو | Iranian theatre is one of prestigious theatres which expressed the aspirations of the Iranian society at all stages of the historic career. However, Iranian theatre is including social propensity such as (writing, shows, and techniques) in addition to set of national heritage values might be typical stereotypes penetrated in a lot of performances and for long periods, it is taken its subjects from legends, fables, religion and popular cultures, and life facts but all these don’t prevent keep pace Iranian theatre to development and using new strategies and modern play, it is appeared as a modern theatre took advantage of all the modern techniques and technological and opened up to all currents of modern schools such as the picture theatre, street, religious and festive theatre.From here the researcher was seen to have placed his research tagged (Technical Works in Contemporary Iranian Theater), which were distributed among the four chapters are : Chapter One : The methodological framework which included the research problem centered in the following question : "What are the technical works in contemporary Iranian theatre?"Whereas its significance : it is trying to study modern technologies in contemporary Iranian theatre and stop on the most prominent of these elements and the mechanism of functioning because it is performance an integrative function and aesthetic in the composition of the play picture while manifested goal search in : knowing theatrical techniques and its works in Iranian theatre shows.Chapter Two : (theoretical framework) has included three sections : First section : Play technical works.. A brief history, it is dealt with the beginnings of the improvement of play technology go down to the modern currents and schools. While Second section involved, technical works in contemporary global playwright show. First chapter included Technical works for the international directors depending on technical works especially for the Duke Sachs Mainngen and Richard Fagner and Andre Antoine and Kosnantin Sergeyevich Stanislavski passing by Edward Gordon Creek and Max Reinhardt and ending with Joseph Zvoboda and Eugenio Barba and Robert Wilson. While second chapter included technical works for the currents contemporary play and the researcher studied play currents and technical works. Whereas third section involved Iranian theatre.. Upbringing and development, and the researcher was studied the beginnings of Iranian theater and to the present, focusing on technical works. Then come to indicators that resulted from the theoretical framework and previous studies.Chapter three : (Research procedures), it included research society and determined sample of the study which was deliberated and then research tool and its method and finally we are achieved a sample analytical which focused on the role of play techniques and its works in Iranian theatrical presentation and included five shows which are : A - Told play.B - Zokast play.C - Play of Erjim Basar Fredon Ya sah Qatrah Khon Row Prif.D - Play of Bih Mrasim Mrik Dadish Khosh Amdeed.F - Play of Ay Qased Sultan Greban Matlab Ab. Chapter Four : It is included results and discussion which was most important Iranian theatre has taken its privacy derived from its association with close Iranian society as well as his quest to retain the national identity and its dependence on the global legends such as Indian and Greeks in general and on the Iranian myths in particular, trying to keep pace with the trends of modern theatre.Hired a theatrical scene according visions characterized Going towards the play currents postmodern and vulnerability in drawing the scene, making this to product new experiences derived form of abstraction and reduction based on modern technologies, marked by beautiful of intellectual and artistic. Then the researcher founded a set of conclusions and recommendations and proposals after that a list of sources, references and appendices and finally summary in English.

الاتجاه الجمالي في تجربة الناقد عقيل مهدي == Aesthetic Trend of Aqeel Mahdi'S The Critical Experiment

اسم المؤلف: محمد مهدي حسون
اسم المشرف: رياض موسى سكران
الموضوع العام: الفنون الجميلة
السنة: 2008
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: تنفتح دائرة النقد اليوم لتشكل تداخلات مفصلية مع الفلسفة، وهذا التداخل بين النقد والفلسفة يتميز بوصفه علامة بارزة في القرن العشرين, وحتى لحظة تدوين هذا الملخص، اذ ياخذ النقد صفة متعالية تبلغ درجة ووسعا وكانها فلسفة العصر, وهذا بدوره قد اثر كثيرا على الاش | Today , the criticism's cycle opens to form an auricular overlap with philosophy's , this overlap between the criticism and philosophy distinguished as a remarkable mark the 20th century till the moment of preparation of this thesis , the criticism takes a transient adj. attains degree as it's era philosophy ,that has largely influenced histrionic functioning with all it's trends and men and all.Following the global criticism scene and its influences onto theater is necessary to follow the effect relativity and influence in histrionic scene. And this way the researcher thesis opened in his dissertation to see in global criticism movement experiment being the occupied thinking trends which replaced the philosophy and formed a group of functions which accompanied the scientific and humanitarian fields with all it's types.The matter which made the researcher , to follow the critical experiment from available aesthetic perspective in critic experiment ( Aqeel Mahdi ) and the operation of following this experiment doesn't halt onto the concepts frontiers which is enjoyed by each critical trend but it extends further until reaches to discover the pleasure and aesthetic climax which accompanies each criticism trend and diagnosis with generality from one side and the privacy in critic project ( Aqeel Mahdi) , that opened the door to articulate the research (Aesthetic trend on the critic of Aqeel Mahdi's experiment ) with the following splits.First 1st chapter : the methodical frame : - The researcher has exposed to diagnosis the research difficulty and need extent , it's importance , it's targets , research frontiers then the extension to locate the terms mentioned in research title. Second - 2nd chapter : the theoretical frame : - which include 3 researches : A. Shows the criticism trends concepts onto the contextual level , text , reading trends level and receiving.B. 2nd. research : in this research the researcher has concluded the mechanisms which are enjoyed by every trend.C. 3rd. research : this research forms a checking for aesthetic in every trend.Third : 3rd. Chapter it is the research procedures : the researcher has worked to discover three of criticism books which are distinguished by the criticizer (Aqeel Mahdi ) ,He hold a funding and analysis fit and the research nuncupative.As well as the researcher has recapped in this chapter a group of ramifications based on his analysis for opted samples. Fourth 4th. Chapter : - this chapter has the research ramifications , conclusion ,recommendations , suggestions , a list of references and finally the research abstract written with English language.

خصائص الاداء التمثيلي للمجاميع في عروض المسرح العراقي == Features of Acting Performance For Groups In Theatricals of Iraqi Play

اسم المؤلف: غازي حمود سعود
اسم المشرف: عادل كريم سالم
الموضوع العام: الفنون الجميلة
السنة: 2008
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يتناول البحث خاصية اداء المجاميع وتطورها عبر العصور المسرحية المختلفة حتى عصرنا الحالي وما لهذه المجاميع من دور مهم في بناء العرض المسرحي. وكيف تعامل المخرجون, والممثلون مع هذا العنصر المهم ضمن التكوين العام للشكل المسرحي.قسم البحث على اربعة فصول، يتض | This research is about the feature of groups and Their development Through a different play periods till the moderan period, also These groups had important roles in construct.The play Theatrical and they are formed ingredent which is hold abeauty and mental value connect with construct relationship in public forming for the theatrical,and how the directors deals with this important ingredent according a public forming for the play forme.For that the researcher was divided his research into four chaptersThe first chapter : including the (Sustematic framework) which is the researcher presents the research problem , its needed , its importance, its aim, its edge and its defintion to The its terms.The research problem was appear by a question about (What is the features of acting performance for groups in theatricals of Iraqi play) ?The importance of this research is about the work of the groups on the Iraqi stage.The aim of the research is about the identify on the features of acting performance for groups in theatrical of Iraqi play.This research is restricted on the study of dealing with groups in choosen samples and intentional from Iraqi play theatrical in(1988 - 1977) and it presents on the Baghdad stages In The second chapter : (The thearetical framework) is consisted of three subjects : - The first subject : is about a public sight in a group estabilshment.The second subject : is about groups and thier development through play periods.The Third subject : is about directorial treatment for groups in wordly play theatricals and also it consist of the most important refers which are result upon them theoretisal framework and previous studies. In The Third Chapter : The researcher was specify. This Chapter for carrying out ,his research specific his society and its samples and the way for thier analysis the researcher was used analystic descripition system for this sample which is made of (3) Iraqi play theatricals as : ((ALMOTANABY)) : is preparing by (ADEL KADM) directing by (EBRAHIM GALAL)in 1977 acting By nationality group for acting. ((ALEKTRA)) : is preparing by (SOPHOCLES) directing By (ADEl KAREM) in 1987 , acting on circling theatre in Arts Fine College.((THE BIRD LETTER)) : is preparing and directing by (KASIM MOHAMAD) in 1988 , acting by nationality group for acting.in The fourth Chapter : is consist of The results and The researcher was reach to them through his analysis for these samples also this chapter is consist of lists of sources , references and the summary in English language.
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