سمات الهابننغ و اشتغالاتها في أداءات المسرح البولندي المعاصر : تجربة ((تادوش كانتور)‎)‎ إنموذجا

Abstract EN

The first chapter deals with the problem of research, which was identified by the following question: What is Happening? And what mechanism and technologies through which the concept was invested in the performance of contemporary Polish theater through the experience of Tadosh Kantor theatrical? .

The importance of the research and the need for it is useful for researchers interested in the field of performance, laboratories and workshops in the institutes of fine arts and colleges as well as institutions of the private theater.

The purpose of the research is to understand the concept of Happening, to highlight all its items and techniques, to study the construction of the performance of the actor in contemporary Polish theater through the cantor experience, and to demonstrate the use of the Happening concept through its performance configurations.

And then the boundaries of time research spanning the period (1975-1990) and spatial in (Poland), and the subject of (study of the characteristics of Happening and its functions in the performances of contemporary Polish theater - the experience of Tadosh Kantor model -), and then concluded the chapter of the definition and definition of terms.

The second section deals with the study of structural performance of the actor in the experience of Tadosh Kantor.

The chapter concluded with the previous studies and the indicators that resulted from the theoretical framework.

The third chapter (procedural framework) was devoted to defining the research society and the research sample.

The chapter also included the research method and the research tool.

The chapter concludes by analyzing the play of the Polish director (Tadosh Kantor.

( Chapter four deals with the following: 1- The dominance of plastic formative performance based on description and explanation of semantics.2- The rule of the power of the director and his dominion over the final form of representative performance3- The process of rotation between the body and objects in the expression produced an oppressive and chaotic rhythm, and the lack of answers to what has achieved the concept of non-glory.

The chapter also included conclusions, recommendations and proposals, and concluded with the list of sources.