التشكيل الجمالي للمكان في مسرح الشارع

Abstract EN

The place in street theater is one of the basic and important elements in building and completing the theatrical performance system in the squares and open space, due to its connotations and implications that are rich in its space, environment, shape and nature, as well as its mixing with other artistic elements.

The place in the street theater demonstrates the dramatic character, and the idea of the action on which the theatrical performance is based, in addition to the presence of the character and its aesthetic and dramatic dimensions represented in directness and improvisation, not to mention the realistic social mark of the place, related to the contents of the show and its basic idea, through the kinetic performance attached to the representative character that is possible To comprehend all the qualities, and the intellectual values that can be contained in all the aesthetic components mainly, and make the aesthetic perception an act that carries a value in itself to intentionally reach the audience, and in a different way to address many of the problems.

And the evocation of many experiences by shaping the aesthetic place to put its mark that paints, and produces renewable dimensions by revealing through the aesthetic perspective, and creative energies in order to achieve communication between the audience and the idea of the play.

Street theater constitutes an area depth to the geography of the theater place, and is subject to varying dimensions regarding the dialectic of its natural formation.

Theatrical places within the boundaries of the imaginary and assumed space, to highlight the aesthetics of the place and its functional or innate formation first, in addition to reading some of the problems in the experience of the theater of the place, including: a mechanism that matches the written text, the details and nature of that place theater, and thus knowing the extent of that place's ability to orb the movement of the actor With the audience and other elements of the play in addition to the dramatic effect on the actor and the receiver at the same time, and the extent of the actor's control over the side effects of noise and clamor to his focus and attention.

The first topic: the aesthetic and intellectual data of the place in the street theaterThe second topic: The art of improvisation and freedom to present in street theaterThen it came up with the indicators of the theoretical framework, which are basically close and complementary to the current research, and then discussed scientifically and systematically through the application with the research sample and objectives.

The third chapter included: the most important measures that the researcher followed to achieve the goal of research and identify the influential and non-influencing actions regarding the place in the street theater, and thus the attempt to engage and confront the public in the street theater and what it depends on the performance mechanism and the spatial environment, in order to achieve the climax of work and reach the reality of the crisis.

The research sample was chosen in a way that suits the concepts of the study, so the silent comedy show (slave commissioner) was chosen as an idea, performance and direction: Hussein Malthus.

In Chapter Four: The researcher obtained the most important results and conclusions in which the aesthetic functions of the place were observed and their effect on street theater, namely: The diversity and development of directorial styles, as it is considered a major part of the development of this type of theater, "street theater".

The diversity of the forms of performances and their ideas take on visions that can express the possibilities of dramatic suggestion through the participation of the actor with the recipient emotionally.

The harmony of the parts of a single show achieves focus through theatrical presentation lines, and the extent of the audience's interaction with the direct work of the audience.

Sensory visions have an impact on revealing the director's vision, and the goals they carry to build the appearance and essence of the theatrical performance.

The diversity of uses of the elements of the performance, such as direct and improvisation, which affects the events embodied within the operating system of the theatrical performance.