جماليات الأداء في العرض المسرحي المونودرامي العراقي

Abstract EN

Aesthetics occupied an important aspect of artists' concerns in their different ways of artistic expression and methods of performance.

the art of representational performance includes those aesthetics, which include the production of meaning by the actor and its reception by the recipient, so this research will shed light on the aesthetics of performance in the Iraqi monodramatic theatrical performance, so this research includes the first chapter- the methodological framework, and includes the research problem in the form of the following question: what are the aesthetics of performance in the Iraqi monodrama theatrical performance? the importance of the research and the need for it lies in the fact that it benefits students in institutes and academies of fine arts, especially students in theatrical acting specialization.

the research objective is to identify the aesthetics of performance in the Iraqi monodrama theatrical performance.

as for the limits of the research 1- temporal 2002-2014.

2- spatial: university of Babylon / college of fine arts.

3- the limits of the topic:- identifying the aesthetics of performance in the Iraqi monodrama theatrical performance and identifying the terms in order to reach the procedural definition.

as for the second chapter- the theoretical framework- it includes the first topic that deals with the concept of the aesthetics of monodramatic performance, the second is philosophical aesthetics, the third is monodrama through the ages, the fourth is the characteristics of the performance of the monodramatic actor, and the fifth and last is the aesthetics of receiving.

and then previous studies and the results of the theoretical framework of indicators.

the third procedural chapter will be an analysis of the play (either or), the play (days are gone) and the play (carrying in the mirrors of wolves).

in the layer of voice, and in singing.

1- the monodrama actor embodies different characters, so he has the skill of diversifying the layers of voice and singing 2-the monodrama actor possesses a motor skill represented in his ability to dance, mime and kinetic improvisation.

3- the monodramatic theater actor sometimes deludes and sometimes embodies 4- the ingenuity of the monodramatic actor lies in the use of imagination or emotional memory in transforming the familiar pieces of decoration on the stage into unfamiliar or realistic forms 5- the monodrama actor is a good singer.

6- the time for the monodramatic theatrical actor is related to the past or considered psychological time.

7- the recipient interacts with the actor, either by applauding, screaming, laughing, or even talking, and the actor may touch the recipient this research concludes with the most important references, sources and summary in English.