دور المخرج في معالجة العائق عند الممثل المسرحي

Abstract EN

One of the director's duties is to diagnose the obstacles within the theatrical work system, and the first of these things is the actor and to achieve interaction and achieve aesthetic pleasure, he studies the psychological dimension of the actor and his knowledge of the causes of suppression and his motives and thus treating them in the right ways so that the destructive obstacle of the novice actor turns into the capacity of his construction to evaluate the theatrical work and reach it to the fullest degree and for that The researcher divided his research into four chapters, which are the first chapter: the methodological framework for the research, and it includes: The research problem centered around the following question (What is the mechanism that the director follows to discover the obstacle and then address it?).

Then the importance of the research and the need for it, then the objective of the research, then the limits of the research: temporal from (2018-2019) spatial (Iraq) and objectivity and finally defining terms and procedural definition.

Either the second chapter (the theoretical framework) included two topics, the first concerned with the study of psychological problems and their reflection on the performance of the actor, and the second was the obstacle for world directors.

The chapter was concluded with the indicators that the theoretical framework resulted.

As for the third chapter, it included the research procedures, samples, the tool and the method of research.

One lesson was chosen for the representation subject as models to study the mechanism of dealing with obstacles that impede the performance of the actor.

The first phase included two classes (a) for the teacher (Abbas Muhammad Ibrahim).

The fourth chapter contained the results reached by the researcher.

The most important of them are: 1.

The harsh social conditions such as the family's neglect of its members create a state of non-confrontation and thus create a psychological obstacle for the actor, so the director works to raise the confidence of his representatives to turn it into positive energy.

2.

Involving the actors in theatrical play, which is a healthy condition, so that the actor merges with the group to remove the obstacle.

3.

Laughter, whether by launching a joke or an exercise in laughter, produced a cathartic state, which in turn removed the actor's obstacle and replaced it with a positive energy.

The chapter also contained a set of conclusions and then anchored the sources