Technologies of the theatre show elements get great transferring concerning the creative embodiment of its aesthetic elements including its raws, forms, parts and masses in an attempt to achieve the prin cipal expressive progress to embody the main theme of the idea and the intended subject .
This is within the criterion of supporting the way to deal with technologies (décor elements , lighting music tones vocal affects , fashion and makeup) that achieving the emagintional appropriate atmosbheres which the writer and the director of the theatre show aim to make it present and succeed by furming active participation tunches of the ability of the cinogra . phic – element dsigners in order to invlve the theatre space atmospheres in cluding its three dim – ensions of masses ,visual elements concering what the natural delusion process has an addi-tion to the place andtime and the sequence of the drama building during the dramatic moments which contribute in developing the visual and audio events and scenes .
The physical elements such as (light , colour and shadows) with the empod – yment of the vocal spheres , musical tones , fas –hion clecoration and the aesthetic of makc – up process after the current electronic technical sustems peing available which provide all of success req-uinements of the thatre show creation by its magic .artist , and aesthetic hints and harmoneyed view .
Following understanding and realizing the aes – thetic values touch with its styles and direectinons to creatthe sense memory of the viwers .
Accordingly , the researche found the need to search in the atudy of the subject of (the effective optic address and the vocal sustem in the theatre show ) to be the more flexible , wish and strong altern – ativeof the technical elements of the realized physical – viewed servicer presides the little coast achievement and the easiest job towards the speed of achieving the theatre production to achieve the effective optic address and the sensitive harmony by applying the current princi – ples that enjoyend by aesthetic snd knowledge add- ress from which the literary text analysis and view criterion is transferred .
Building on what aforementioned , the vesearcher sees that thene is a necessity to develop the req uinements of that address and its ngagement whith the vocal system acrocc an objective analyst study hence this subject never jiven the due importance in the field of the academic studies ercept some essays and some other studieo which did not deal with the optic address and the wayto dismantle it and what it was marked by .
It is the address process which joins between the optic address and process .
Actuallu it his gave the research an objective justifiicalion to study this subject in an attempt to rooting the technical know ledye and explain the aesthelie affects of that address, the difficultien of the vocal system con, tribution to raise its competent to realize the aesthetic elite and the
technical enjoyment that are quirecl for the theatre show .
The researcher cdued this research ( The Effestive LAS optic result , Address and the vocal system of the theatre show.
The research tagged: the new aesthetic in contemporary world painting. The research contained five chapters. The first chapter dealt with the research problem and its importance. It dealt with the concept of the new aesthetic as a concept concerned with the topics of the mind, i.e. the most comprehensive and diverse topics. The New Aesthetic is an aesthetic and stylistic structure whose taste, aesthetic, artistic and emotional contribute to its structure with awareness of the context. The aim of the research is to identify the new aesthetic in contemporary world painting. As for the objective limits of the research, the researcher was interested in studying the new aesthetic, especially in abstract expressionism, pop art, opera, and conc
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The tagged search (The aesthetic images in Mohammed Thanoun graphic) four chapters, Chapter I was concerned the statement of the research problem, the research importance and it’s needed, the goal of research in identifying the aesthetic images in the graphic of the artist's, the research limits, and identifying the most important terms, chapter II came with theoretical framework and included three chapters: chapter I was interested in the aesthetic concept. chapter II is the image aesthetic in the graphic, and chapter III is the artist experience, Chapter III specializes in research procedures: community, sample, curriculum, tool, and sample analysis. Chapter IV ended with results, including: dynamic research sample illustrated of the
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The research presented the tagged (aesthetic and expressive characteristics in the works of Jean Dubuffet), so the research objective was: to know the aesthetic and expressive characteristics in the works of (Jean Dubuffet), and the research included four chapters. The aim of the research, the limits of the research, and the definition of terms. The second chapter included four topics. The first topic presented the aesthetic essence and style, while the second topic dealt with expressionism: approaches in concept and meaning.
While the third topic was preoccupied with presenting the aesthetic and expressiveness in the drawings of modernity and beyond, while the fourth topic dealt with: Jean Dubuffet and the experience of raw art. Th
The research emphasizes importance of preliminary drawings in design of any product. Therefore, using of simulation as tools for visual thinking in developing drawing and design skills. So that practice of drawing by hand, considering shape of ideas in first stage of visualizations, and practice of its techniques and continuous training.
Hence, the research problem arose with the role of simulation method for developing preliminary sketches in the sample of students of the Product Design Department at the College of Design and Art, PNU, as it is important tool for visual thinking that helps the designer in designing and producing innovative artistic works.
Therefore, the research axes, a number of findings and recommendations were
Which was entitled : Aesthetic and dramatic dimensions of silence in the feature film , and the researcher clearly define after removing the confusion existing in some authorized sources , as for the concept of silence , adopted in this research is : the death of the audio stream , Hence the researcher shed a light on the aesthetic and the dramatic role of silence in the feature film , through the handing of the silent scenes ( absolute silence ) in the film research divided this research into four chapters . This first Chapter includes : methodological framework , which represents the research problem , which came with the following question : what is the mechanism of productive silence to the
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There is an association between the signifier and the signifier. This association shows the eyeball, which acquires a direct presence and whose presence influences the level of production of the hidden connotation. Because the theatrical presentation is a series of auditory-visual functions, these signs are looking for the exploration of their meanings and their evocation to form a complete loop to achieve the association of the above. This is what made the researcher to monitor the abundance of semantic shifts in theatrical presentation as long as the implications of the strategy continue in the game of semantic production with multiple horizons, and the idea in theatrical presentation tolerates multiple readings according to the refere
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The musical sign was associated with the first appearances of acting that are based on human gestures and expressive and silent movements, and they contributed in accentuating and clarifying these gestures and explain their meanings and indications, and they remained with them until these gestures turned into artistic theatrical shows so that the musical sign would have many functions and constitute the main pillars for this kind of show.
The musical sign is a language not much different than the human language in the semiotic analysis. There has been an increased interest in it and its use in the mime shows by the graduates who realized its necessity and significance in the pantomime show intellectually, artistically and aesthetical
After the spread of the function of the scenographer in the modern theater, his vision has become present in most of the theatrical works and because the director is the master of the work and the owner of the vision that appears in front of the audience, the overlap between the visions of each of them was required. This research is an attempt to detect the overlap and disengagement in the work of each of them.
The research is divided into a methodological framework that included the research problem, importance, limits, and purpose, and then the definition of terms. In the theoretical framework, the research dealt with two theoretical sections that pave the way for raising ideas related to this subject: the first section (scenography
The feature that prevails in spoken political discourse - especially with regards to the fact
that it is otherwise used in the written one - is relatively high degree of formality. It is then just
logical that formality is usually accompanied with more polite forms and higher degree of
impersonality. Such discourse is characterized by the choice of specific vocabulary and syntactic
structures as well. However, there are some tendencies to bring political speech nearer to the
everyday discourse and that is why political speeches have been becoming more informal and
personal. Like any other types of discourse, the American political speeches are loaded with
deictic expressions that form an essential complementary