The researches discusses the style of acting used by (Sami Abdul-Hameed) in one of the play director (Salah AL-Kassab) production whine he called; Picturesque.
The problem of this research is to discover the differences between the performance of (Sami Abdul-Hameed) in the Picturesque Theatre and the other theatre.
The goal of the research is to get to know the style of acting used in (king Lear) directed by (Salah AL-Kassab).
After defining the term (picturesque theatre), the researcher discusses the elements of the Visual theatre and the components of the stage picture according to (Alexander Dean) and he refers to those well-known director who had emphasized the Visual elements. Such as (Gordon Grieg) and (Franco Zeferreli).
In the second part of chapter two, the researcher discusses the mechanism of the actor's performance generally and in (Salah AL-Kassab) approach in directing of a play tends to borrow elements from deism and surrealism such as multiple focus, and not to follow the principle of cause and effect.
The researcher discusses the following results;
1. There are some differences in the cultural background between the actor (Sami Abdul-Hameed) and the director (Salah AL-Kassab).
2. There are some differences in the artistic approach between the actor who depends on (Stanislavski) method, and the director who belong to the trend of the art for the sake of Art.
3. (Salah AL-Kassab) in directing a play treat the actors as supper marinates.
The researcher researches the following conclusions;
1. To achieve the Picturesque Theatre the play director has not to use the words of the text.
2. The actor in the Picturesque Theatre play as a tool by the director's hand.
3. In the Picturesque Theatre the actor has to follow all the instructions of the director.
4. The actor in the Picturesque Theatre has to be more flex able and enough experience.
This play is written in 1932 by Lynn Riggs who is half Cherokee. The play is set in Claremore Mound, Oklahoma almost a century after the Trail of Tears. Riggs presents mixed- blood, young Cherokees to portray a post-colonial state of spiritual loss and disruption of traditional community ties. The new generation lives in darkness, and the title of the play tells about the dramatist's view that night comes to his Cherokee Nation. The Indian ghost is one of the play’s characters. It is an Indian ghost of a warrior. It comes to remind Cherokees of their heritage and traditions. The ghost sees the new generation as nothing as ghosts because they are neither good for themselves nor for their nation. This paper is important as it discu
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This research discussed analytically based on intellectual institutions and theoretical landscape theater as artistic phenomenon depends on the compounds interacting overlapping mechanism visualization and dazzling Whatever the dilemma it a set of Alaqcar differ among themselves but in the result unit intellectual holds through difference and diversity between trends and styles and ways in design theorist theatrics Valashkalah on apparently formed through variations and different points of view through the philosophy of transformation and interpretation and assignment to offer privacy.
Valashkalah pulled in the design theorist theatrical as system training to arrange time and place and in line with the interpretation of speech text an
The resort to the eloquence of the poetic image as a style reveals the poet's creativity and creativity in dealing with external influences, and reflect them with emotional images express a sense of intense emotional imagination, and this imagination stems from the experience of a poetic sense of truth, tasted by the recipient before the creator of the poetic text.
Between the duality of sound and image, the completeness of the actor’s personality at the director comes to announce the birth of the appropriate theatrical role for that character as the basic and inherent element of the artwork, within his working system in the pattern of vocal behavior as well as motor/signal behavior as he searches for aesthetic and skill proficiency at the same time.
This is done through the viewer’s relationship with the theatrical event, which the director considers as an area of active creative activity in relation to (the work of the actor) through vocal recitation and the signs it broadcasts in order to fulfill the requirements of the dramatic situation and what it requires of a visual vision drawn in t