طقوس التعزية ومقاربات الأداء الفطري في حضارة وادي الرافدين

الملخص EN

For centuries, rituals constituted a milestone in the lives of people at the time, as "all rituals are essentially dramatic rituals, because they pull between parts of a scene, something seen and heard by a living audience, and from here we should meditate on (the divine sacrifice) or the coronation or the official burial ceremonies.

Accordingly, one can look at the rituals as dramatic actions and theatrical events, as one can consider the drama as one of the rituals.

The dramatic aspect of the rituals is revealed in the indissoluble reality of simulation in this aspect." (The ancients were more open to the divine, In it he laid out his own views on creation, cause, end, and destiny, as well as his resulting myths and religious rituals.

These rituals allow man to reveal to himself his true destiny as an integral part of the world.

This means that religious rituals not only reveal the structure of truth or existence in one of the dimensions, but also give meaning to human existence.

Thus, the myth appears in its initial form as a religious response related to rituals and rituals, and thus the study of this research came to reveal the features of performance based on instinct in the performances of the theater of condolences.

Research objectives and limits A procedural definition of some terms has been allocated In the second chapter, the researcher tried to build a theoretical framework from one topic that included the study of condolences and approaches to performance in the East.

General, referring to the general concept of teleology and the most prominent international directors who dealt with the actor according to this concept.

While the second axis in this topic dealt with the finality in the performance of the Al-Taziah theater actor, this axis resulted in several features, the most prominent of which was showing a religious intention through which the actor wants to draw closer to God and his religious belief.

In its surroundings and regional community.

While in the third topic, the researcher touched on the study of resemblance and its approaches to the performances of the theater of condolence.

And methods.

Then, at the end of the second chapter, the researcher extracted the indicators that resulted from the theoretical framework.

In the third chapter, the researcher conducted his research procedures, where he identified the community, the sample, and the research tool, according to what is commensurate with the nature of the research, as well as what the researcher was able to reach from the observations and visual sources.

And meetings and interviews, and then he analyzed his research sample.

As for the fourth chapter, the researcher extracted the results and conclusions