Since its inception, the theatrical performance has been based on the principle of permanence, continuity, renewal and innovation in the structure of its visual elements. These innovations and the effectiveness of continuity cannot be achieved without searching for everything that is new and different at the level (form and content) in order to create an image with innovative and effective features in the theatrical discourse, and from Among the elements of the theatrical performance (theatrical costumes) that have been subject to variation since the beginning of the theater until now, and for this purpose, the current research was conducted with the question of the research problem: What are the variations of costumes in the contemporary Iraqi theatrical performance.
And (theoretical framework) the first topic: the concept of contrast in theatrical performance, the second topic: the different vision of theatrical currents, the third topic: the differentiation of costumes in form and content, and indicators of the theoretical framework.
The (research procedures) came from the research community and the research method: descriptive analytical or research sample (presentation of a play of revelations). The results came as conclusions, recommendations and suggestions, and the most important results are:
1- The events in different costumes are subject to the requirements of the idea of the play and its events, and this is what we find evident in all the costumes of theatrical characters (disclosures) in the characters (Al-Hajjaj, Aisha, and the servant).
2- Contrasting with costumes does not mean distortion and lack of clarity in their forms, but rather follow steps in design with scientific and applied dimensions that produce a different costume that is comprehensible and understandable. The search concluded with a list of sources
It seems that the features of the theatrical discourse , since its early establishment by the Greeks, were cultural features specifically confined to that society. Such features determined the direction of the theatrical discourse for this state instead of that state. There could be some sort of similarity among those features , nevertheless they remained within the general humanitarian framework . What achieved relatedness were those features and particularities that distinguished the theatrical community. Such features and particularities vary from one show to another. This is what we call " Local Specificity" .The Iraqi theatrical memory has always emphasized the concept of Experimentation through originality and renewal since the arr
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I dealt with in the first chapter (the methodological framework), which includes the research problem identified
The problematic of the current research marked (style between alienation and westernization in contemporary painting) is demonstrated by the fact that the stylistic forms in art are full of the influx of subjective and emotional impressions, as well as administrative and borrowing techniques, as well as their contextual meaning, whether cultural, social and political, which gives them an alien dimension at one time or another. The aim of the research is: Define the style between alienation and alienwesternization in contemporary painting. The research included six axes dealing with the first axis: an introduction to the concept of alienation, and the second axis dealing with the style in romanticism. The third dealt with: the method in i
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The quality in women’s fashion and the importance of showing the design and conveying the design message to the recipient depends on the level of its implementation, starting from the selection of textile fibers and determining their appropriate characteristics for the functional purpose and design prepared by the designer and ending with the final operations of the costume. This calls for spreading awareness and c
المتغير في النحت العراقي المعاصر