Our research deals with the role of theatrical decoration in creating visual thumbs and the effect achieved as a result in the theatrical presentation in terms of supporting the idea of centralization of the dramatic construction of the show, as the researcher emphasizes that this topic has begun with a new horizon removed many technical concepts and knowledge in the theater.
Horizon knowledge and discoveries based on the structures of light and sight to achieve an existing transformation from steel to ethereal. According to these new concepts, systems other than those based on old methods of presentation have been formed.
In light of this, the researcher divided his research into:
First: the problem of research and the need for it. The researcher asked the problem a number of questions, the most important of which is: how does the illusion in the theater affect the phenomenon of receiving. He also set his goal of revealing the visual illusion in contemporary theatrical décor. He linked the importance of research in the fact that it benefits scholars and workers in the theatrical production industry.
The researcher addressed in the second chapter (cognitive framework) the structure of illusion in theatrical decoration based on the image in the visual art is considered to be deceptive and shaded and the information is collected by the sense of sight and then treated by the brain . Where the illusion of reading the image occurs through the theoretical manipulation of the drawing of the work.
In the last chapter, the researcher adopted the descriptive analytical method of reading the levels of the sample and the directing treatment and the role of visual deception in the illusion achieved in the research and his awareness of the play (Facebook) which was presented on the national stage in Baghdad in March 2011 by the preparation and directing (Imad Mohammed) and representation (Mohammed Hashem), and then reached the researcher at the end of his research to the most important results and the most prominent conclusions and sealed the list of sources and references on which he relied.
Abstract:
The prose poem of the 1990s is considered one of the important
contributions of the Iraqi poetic scene. The poem found a position in the Iraqi
poetry because of the favor of a group of youth poets who lefty clear traces.
Their linguistic techniques often violate the domain o9f language, significance
and image.
The poems of those youth poets moved the verse towards reality to
drink from its abundant springs in order to stand on a rigid ground. Their
linguistic traces are characterized by paradox and astonishment that are used
by the poet to construct his poem.
The paradox was considered an ideal means for constructing a
poem by some of them. The poem moved towards definitions and these
de
Many critics suggest that Beckett’s early plays are comic because they focus their analyses on the use comic elements. Waiting for Godot is one of Beckett’s early plays, and it has been heavily analyzed and read as a comic text partly because its subtitle is “a tragicomedy in two acts” and also because of the comic techniques used in the play. The present paper, however, attempts to read the play as a piece in which comedy fails to produce any effects on the characters who remain apparently very desperate and frustrated throughout the play. The characters perform different comic acts, but they do not really feel amused or entertained. The paper suggests that the acts these characters put on stage are only means to pass t
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