الخطاب الجمالي للأداء الحركي في عروض مسرح الطفل في العراق

الملخص EN

The theatrical performance directed at the child is formed through many elements that work to reproduce the story of the blog (the theatrical text), according to the drawing of the virtual environment through the directing vision, as the visual system of the actor in the theater becomes clear through the body language (transitional movement, positional movement, gesture.) And that these elements have a clear role in the utilitarian embodiment of communication, but with the development of the fields of literary, artistic and aesthetic research, especially in the expressive arts and the emergence of various theories and methods, especially the performance field in the theater as it is a comprehensive synthetic art that depends on the living and immediate embodiment in its direct relationship with the other, so the movement has become An essential element in investing body language for communication and expression, It is also considered the sign with the ability to form and transform in the process of producing the semantics of the presentation according to the way it is employed, and accordingly, the body of the actor is a very important element to create artistic beauty and present it to the recipient of the child.

The expression is through body language that seeks to form an objective connotation through a set of imagined motor formations, Here lies the difficulty of analyzing, understanding and interpreting the text of the body through performance, as this performance reaches wider ranges when it tends towards symbolism to express the smallest details with physical signs and hints that can replace the spoken language if it does not exceed it, according to these concepts we can count the body in theater as a text It carries and conveys various messages that are not based on spoken language, but rather invests the energy of kinetic expression at all levels, producing types of readable signs, This is what the recipient does in order to analyze and interpret it, and in this way the essence of the text is achieved, that the body cannot become at this level unless it is subject to the control of the actor consciously and physiologically, since the body in the theater is freed from the conditions of the utilitarian colonial function that is related to the everyday and ordinary reality to the aesthetic level.

Here, the actor must exploit the energy of the body in a movement mechanism that responds to all the situations and sensations that the role requires, Hence, the researcher found the necessity to study his research entitled (Aesthetics of Kinetic Performance in Child Theater Performances), and in order to reach the goal of the research, the researcher divided his research study into a was identified by the following question revealing (aesthetics of motor performance in child theater performances), as well as It included the purpose of the research and its limits and defining the most prominent terms, while the theoretical framework dealt with two topics, the first topic: the science of body movement and its components, while the second topic dealt with: the motor performance in child theater performances, and the indicators of the theoretical framework, and the researcher chose the play (access) a sample for the research, as well as The results and conclusions, from which I mention the following conclusion: (The locomotor system is a very important element in child theater performances, passing through the list of sources and references.