تشكلات الأداء في العرض المسرحي العراقي المعاصر

Abstract EN

The performance arts after the sixties and seventies inspired many directors and theatrical groups in the production of artistic knowledge and different performance forms in the different fields and artistic styles, which led to the emergence of radical transformations in the structure of the display structure and the production of his paintings.

Iraqi contemporary), containing four chapters, dealt with the first chapter (the methodological framework), which included the problem of research, which was determined by the following question: What is the nature of the performance formations in the contemporary Iraqi theater? And the importance of research in the detection of the exploitation of performing arts in the structure of the contemporary theater presentation and the identification of local privacy, but the need for it is that it is useful to specialists in colleges and institutes of fine arts to further technical knowledge of the art of performance and its importance in the manufacture of contemporary theater, It seeks to know the form of performance in the composition of the contemporary Iraqi play, and then the time limits set (2016), and the spatial limits that were limited to the capital Baghdad, the limits of the subject has been studied technical and aesthetic treatments for the performance of the performance of theatrical play The chapter concluded with the definition of terminology and its definition, up to the procedural definition of (performance formations in the Iraqi play) in that: form belongs to the art of the show dominated by the intellectual side at the expense of the artistic side and excellence in its exaggerations in experimentation and performance tendency and the participation of the recipient in the event and liberate From the traditional stereotypes of drama.

The second chapter (the theoretical framework) dealt with highlighting the international experiences by the directors and theater groups that adopted performance as a keynote speech in the theater industry with various intellectual and aesthetic treatments such as Judith Malina, Richard Foreman and other contemporary theater groups such as the American Explosion Theory), Where the chapter concluded with the indicators that resulted from this theoretical framework.

The third chapter (procedural), which defined the research community, which is composed of 4 models presented in Baghdad, was used.

The researcher used the theoretical framework as a tool to analyze the sample of the director DEM) and display (ammonium), While the fourth chapter contains the findings of the researcher, the most important of which: 1.

Openness with visual performance on the narrative of the body and its self rather than the long dialogues.

The chapter also includes conclusions, recommendations, proposals and a list of sources, references and annexes.