تمثلات الافتراضية في العرض المسرحي العالمي المعاصر

Abstract EN

The technological revolution produced a number of variables that contributed to changing the pattern of contemporary societal culture, as electronic devices entered all aspects of life and the vocabulary of daily life.

Industrialization at the beginning of the twentieth century, especially in the process of creating visual space and kinetic composition, and striving to create different stakes in the process of employing the artistic system in the installation of theatrical performance, so this study came to monitor those variables caused by (the virtual) in the formation of theatrical performance and to indicate its aesthetic.

This research is concerned with studying (Virtual Representations in Contemporary International Theatrical Performance : The End of the Earth Show by Philip Genty as a model) and it contains four chapters.

How was it represented in the contemporary world theatrical show? The importance of the research was manifested in that it refers to the intellectual and aesthetic characteristics and variables brought about by (virtual) in the global theater production industry.

As for the need for it, it gives space to learn about (virtual) techniques in the contemporary theater production industry at the level of the presentation text, and write the visual scene and the dramatic event in a way that enhances the culture of modern interaction with the philosophy of presentation and the importance of using contemporary technologies and technological discoveries that in turn serve those working in the academic field And those interested in theatrical affairs in various artistic institutions, which contributes to the development of contemporary theatrical culture.

Jannati) and clarifying its aesthetic features in the presentation (The End of the Lands), then the temporal and spatial research limits and the subject limits, where the temporal limit was in (2008), the spatial limit (Iraq), and the objective limit is the study of virtual and its mechanisms of action in contemporary theatrical performance.

And clarifying its specificity in the show (The End of the Lands) by the French director (Philippe Genty).

The chapter concluded by defining and defining the terms, where the researcher reached the procedural definition of (representations).

The virtual in theatrical performance in the contemporary world) as a new space in the use of contemporary scientific achievements in the theatrical production industry by multiple technical means at the level of text composition, presentation script, performance creation, defining the visual space with the contribution of the element of light and music in a scene style dominated by artistic character with the media Digital such as video, television, monitors, computers and social networks, where the visual composition (image) dominates and is important in creating the aesthetics of the display.

The second chapter dealt with (theoretical framework) and one topic to collect (hypothetical : revisions in the concept representations in contemporary international theatrical performance), and ended with a number of indicators, the most important of which (hypothetical) that contributed to its creation.

New ways of using show elements such as lighting, music and scenography, through updated technologies such as laser, computer, radio, television, mobile phone and other technological discoveries that can be used in show production.

As for the third chapter, it is (the procedural framework), in which the researcher identified the research community with a presentation that was chosen in the intended way as a model for analyzing the research sample, which is (the end of the lands).

by the French director (Philippe Genty), .While (the fourth chapter) contained the results reached by the researcher, the most important of which supported (hypothetical) in showing the objects of small and large sizes such as (a small paper letter, a large doll, a mask, the palm of a hand, small houses), and giving them a visual color that intensified their aesthetic presence.

on the stage.

The chapter also included the conclusions, including a note that (virtualize) prompted the director (Philip Genty) to go to a wide areas of investigation and search in attracting new materials and borrowing them from formation, sculpture, architecture, circus art, opera and even the art of magic and cinematic tricks, to be able to employ them in a bribery manner by Skilled performers in this regard, and the work of lighting, the musician, the element of color and the screens have greatly contributed to the process of revealing its aesthetics.

As for the recommendations, they included the need to be more open to (virtual) and its multiple worlds in the process of marketing the theatrical product by developing a plan for cinematography for presentation by a specialized film staff and seeking to translate and publish it on YouTube and the rest of the various social networks, as well as the proposals that were represented in the study of (virtual) on Chinese theater performances), and the chapter ends with a list of sources and references.