اتجاهات الحركة المسرحية العراقية و خصائصها في مرحلة الثلاثينات من القرن العشرين

الملخص EN

There are a number of questions about the characteristics of theatrical text, its trends and characteristics, as well as its methods in the stage of the Thirties, as the most remarkable stage in the history of social transformation in Iraq.

Iraqi theater and its beginnings to go in the search for those pedigree and the fundamentals of the revival of the play, especially in the 1930s, during which the conflict raged violently between the Bedouin and civilization.

In addition, the first educational art institution was opened in the city of Baghdad in 1936 with the opening of the Institute of Fine Arts, where the problem of research emerged.

What is the nature of theatrical trends and what are their characteristics after being popular during the 1930s? The goal of the research was: 1- Defining the trends of the Iraqi theater text and its tracks.

2- Disclosure of the characteristics of theatrical text in Iraq.

In order to answer these two objectives, the researcher was forced to delve into this field to introduce the trends of the Iraqi theater text and its tracks.

As well as the disclosure of its technical characteristics, as the practice of religious rituals and ritual, and the embodiment of human cases in the civilization of Mesopotamia remained through the representative Ahatasat could not develop those manifestations and rituals, which was practiced by the sons of ancient Mesopotamia to a real drama and the same as did not develop to become a mature stage art And express the reality of life.

Later, there were forms of representation that did not amount to the form and content of what we call today theatrical art, which is: (imagination shadow, news and also the Karkuz) But the actual theatrical activity appeared between the walls of the Christian religious schools motivated by preaching and religious and educational guidance among the Christian community in Mosul by the teachers and students of the Chaldean schools and specifically in the last third of the nineteenth century where he witnessed a theater activity in which many plays performed by the parents and their students were Most of them religiously derived from the Bible.

The diversity and growth began in the fields of new theater performances, and a wider and more diverse audience as a result of their influence on the visiting theater groups, and their performances in Baghdad such as Najeeb Al-Rihani and George White in 1926 and Fatima Rushdi in 1929 and then came to Egypt by Amin Atallah 1931, Turkish Tegel Bey in 1932 and Youssef Wehbe in 1932).

The second chapter (theoretical framework of research) contains three topics: 1- The Iraqi Representations between the Old and New Historical View.

2- The dawn of the modern Iraqi play - a historical look.

3- Political, economic and social realities.

In the third chapter, it included the research community, its eye, its procedures and its tools.

The fourth chapter deals with the results, which were the most important: 1- The Iraqi playwright has closely followed the issues of his society and his nation with the facts he has expressed on the level of theatrical text in ways he found suitable for his reality and aspirations.

2- The Iraqi play embodied the portrayal of the conflict between the old and the new, such as the play "Wahida".

3- Theatrical output has been characterized by a trend towards community reform.

4- Theatrical author keen to portray the stories of passion in the field of historical play.

5- The use of poetry in the dialogue theater in the field of historical play.

The chapter also included conclusions and recommendations and then a list of sources.