المقاربة الأدائية بين نظرية فاغنر في التحفيز الإيقاعي و طريقة مايرهولد في تدريب الممثل

الملخص EN

The role of the counterparty has become a cornerstone or threshold for the writing of another, paving the way for the establishment of the application in the field of theater in general and the performance of the actor Especially as a subject where it is intended to rely on the theoretical aspects of the production of performance systems that are the context of the work on the application on the platform, and the subject of rhythmic stimulation in Wagner's theory was basically the two researchers to discover the extent of their approach with the system Biomechanics has Meyerchold in training theater actor, As the rhythm belongs to the theater, it belongs to the world of music and poetry where it is related to musical weight.

In the light of the above, the current research has included three chapters.

The first chapter deals with the problem of research, which was the question: How does Wagner's theory approach the rhythmic stimulation of the performance system of the representative of Meyerchold? The first chapter also included the importance of research and the need for it, the research objective and the limits of research, and ended with the definition of the terms mentioned in the title of the main research and its procedural definition.

The second chapter [the theoretical framework] included two sections: the first [Richard Wagner, theory and laws], the second section [Meyerchold and the training of the representative in the system of biomechanics].

The third chapter included the results of the research and discussion, and the conclusion of the research list of sources and references.