visual composition function In the Iraqi theatrical show

Abstract

What distinguishes theater from the rest of the arts is that it is an art that adopts language in general, and its images consist of several textual meanings, and theatrical signs transmitted by the elements of the theatrical performance as functions of visual formation in it.
And because the theater has this degree of interest, the focus has become on its components that differ from the linguistic and visual artistic phenomena, with what it enjoys of autonomy on the one hand, and what is compatible with other systems on the other hand, so the communicative idea of ​​the theatrical message combines many elements The show that can fall under the tent of the dramatic significance and its aesthetics, and the methods of employment that constitute the formations of the theatrical show.
This research is not concerned with axioms and does not aim to repeat them. Rather, it is an attempt to delve deeper into a new reading of the visual composition, as well as employing it aesthetically after dismantling it into its elements, for the purpose of illuminating what is believed to be marginal or ineffective.
And because the goal is like that, the semantic meaning, and its aesthetic transformation in the light of the advanced idea, does not guarantee one element without another, but rather requires encompassing a complex art, its connotations as a title based on the study of this process and its aesthetic and intellectual surroundings.
In the first chapter, the researcher dealt with the research problem, its importance, and the objectives for which he writes such a topic. The researcher also fixed the limits of his research, identified the most important terms, and defined them.
In the second chapter, the researcher dealt in the theoretical framework with the most important plastic elements in the visual composition of the theatrical show, which are: line and form (body) _ surface, mass, light, color, texture, and void (space), by relying on literature and articles written on the subject of the research, then the researcher conducted A survey of previous studies and research that dealt with topics in this field, and after discussing what came in the literature related to the subject of the research, the indicators were reached and identified through the actors’ bodies with their lines, surfaces, masses, and spaces in them, and through the costumes they wear with their lines, masses, colors, and styles, and through the makeup they put on their faces With its drawings and colors, as well as through the scene, its vocabulary, its accessories and what is in it, and through lighting, its functions, its color and illustrative effects and their implications.
In the third chapter, the researcher adopted the analytical descriptive approach because it is the most appropriate method for analyzing the research sample, and verified the geographical area of the research community. After that, the researcher identified his research community with the Iraqi theatrical performances presented on the stage of Al-Rasheed Theater for the year (1999), as these performances amounted to (8) A theatrical show directed by a group of Iraqi directors and adopted different texts. The researcher selected the research sample by the intentional method of presenting the Iraqi play (Sidra), which was written by (Khazal Al-Majidi) and directed by (Fadel Khalil), and he analyzed it.
In the fourth chapter, the researcher confirmed the results of his research and discussed them according to the analysis of the research sample through which he came out with the most important conclusions, then the researcher confirmed his suggestions and recommendations, and then made at the end of his research a list of the most important sources and references that the researcher relied on in dealing with the subject of the research.