In diesem Drama findet man einen Überblick über die Rolle der
Mutter , die ihre Söhne verteidegen soll und gleichzeitig weiter mit dem
Krieg sich beschäftiegen will . Diese Mutter spielt die zentrale Rolle im
Drama .Die Mitteln des epischen Theater sind sehr klar in diesem Stück .
Man kann einfach betrachten , wie das Stück nicht wie im Theater üblich
zu Höhepunkt, Katastrophe und Lösung zu , sondern werden immer
wieder argumentierend und durch Songs unterbrochen . Der Schauspieler
muss aus dem Illusionstill gelöst und der Zuschauer zum Nachdenken
über das Gezeigte angeregt werden . Die Mutter zieht mit ihren
beiden Söhnen Eilif und Schweizerkaas und ihrer stummen Tochter
Kattrin den Heeren hinterher. Ihre Sorge ist, wie sie ihre Familie
überleben lassen, aber auch wie sie am Krieg etwas verdienen kann.Ihr
Sohn Eilif wird 1624 in Schweden von Werbern in die Armee gelockt.
Erst zwei Jahre später sieht sie ihn in Polen wieder. Eilif hatte sich in
dieser Zeit in der Armee bewährt und erhielt eine Auszeichnung.Auch
Schweizerkaas dient inzwischen im Heer und ist Zahlmeister geworden.
Als er versuchte, die Regimentskasse vor dem Feind zu retten, wird er
gefangen genommen. Seine Mutter will ihn freikaufen und will ihren
Wagen der Hure Yvette Pottier verpfänden. Doch Mutter Courage feilscht
82
zu lange, Schweizerkaas wird erschossen.Mit einem evangelischen
Feldprediger und ihrer Tochter zieht sie mit dem Heer weiter. Die
Geschäfte laufen endlich gut. Doch ihre Existenz scheint gefährdet als
Tilly fällt und das Ende des Krieges nahe scheint. Doch der Krieg geht
weiter, und Mutter Courage kann ihre Waren weiter gewinnbringend
verkaufen. Sie steht jetzt “auf der Höhe ihrer geschäftlichen Laufbahn”.
Als sie kurz ihren Wagen verlassen hat, werden der Feldprediger und
Pfeifenpieter Zeuge, wie ihr Sohn Eilif hingerichtet wird. Sie sagen der
Ahnungslosen davon nichts.
The postmodern ideas and concepts have produced social, political and economic variables that have been affected by wars, crises, the role of globalization and the information revolution. They have created many variables in concepts and great variables in technological, artistic and cultural innovations. All these changes have contributed to changing the form of the theatrical show aesthetically and intellectually, which cast a shadow over the nature of the actor's performance who has become more demanding to change his performance and to find the mechanisms and new nature of work governing him corresponding to those variables and this prompted the researcher to adopt the subject (the performance variable of the actor's techniques in pos
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This research focuses on the field of theatrical production, and focuses on the semantic displacement of the sign in the visual formation of the theater show, so the research has been entitled: "The semantic displacement of the sign and the visual formation of the postmodern theater ". Its importance is to illustrate the aesthetics produced by the semantic displacement of the theatrical sign and it is specialized in postmodern theater. The purpose of the research can be delimited to revealing the aesthetic work of the semantic displacement of the sign and the visual formation in the postmodern theatre. The study temporal boundary is 2017 and the capital of Baghdad is its spatial boundaries. The research sample was "Striptease
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The theatre costume with the rest of the theatre show elements constitute a system of the meaning relations that produce a visual image that helps the recipient to decipher the theatre scene, let alone the manifestation of time in its levels (past, present, future) through the design construction of the theatre elements among which is the theatre costume. In order to know the way of manifesting time through the formulation of the theatre costumes, the research question has been put as follows: how to manifest time through the design construction for the theatre costumes unit, from which the research objective is derived as follows: Revealing the possibility of the designing unit of the costumes in manifesting the levels of time wit
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The building of the Babylonian theater is considered as one of the distinctive buildings where its foundations have remained steadfast in the face of geographical changes, social's erosion and groundwater that threatened almost all traces of Babylon despite the destruction of the outer structure of the building. The general directorate of antiques performed prospection for those foundations (the ground map), and then the building was completed by new bricks over the original scheme. It became clear when examining the building; its components and foundations, that the building is unique in comparison with the old buildings of the world throughout Iraq. There are similar buildings in other places like Jordan and North Africa such as
أثر تنوع الرؤى الاخراجية للاتجاهات والحركات المسرحية المعاصرة في أتساعالاشتراطات الجمالية لبنية الخطاب المسرحي + الامر الذي ادى الى انزياح مكوناتالعرض وعناصره ؛ ومنها المنظومة السردية للنص التي شكلت في بدايات المسرحجغرافية العرض المسرحي والمرتكز النظري والفكري الذي يمد العرض المسرحي أغلبتدفقه الجمالي وعنصر أستعلائي لعناصر العرض الاخرى ؛ وضمن التطورات اللاحقةأنسحب المخرج المسرحي من سطوة البنية النص
... Show MoreSummary Search Alachtgalat process semantic encoding carried out by the actor inside the theater to deliver the intellectual sense, and social, as well as the aesthetic to the recipient, the fact that the code is the function is operated relationship in accordance with the prior intent to deliver the implications of a particular intent, too, and the fact that encryption is the best way to transfer messages in system theater, where should the actor that has the ability to create images (sensory) or intellectual new in human consciousness on the basis of conversion of impressions collected from reality and re technically formed inside the theater, allowing the recipient to arrange these marks to obtain the meaning that lies in them. So he
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Theater is a renewed art until this moment, and it does not stray from its components from life and its spaces in general, but rather is derived from them according to characteristics and directions intended to differ based on finding other, more effective solutions, Therefore, the research entitled (Extractive treatments of the space between tradition and contrast in contemporary theater) consists of four chapters. The first chapter came under the title (the methodological framework). Where he dealt with the research problem and then the importance of the research and the goal of the research as well as the objective, temporal and spatial limits of the research, In addition to defining the terminology and then finding the procedural ter
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This research tackles the play of Synge "Rider to the Sea" to find out whether the
theories of Leech (1983) and Brown and Levinson (1987) can be applied or not to this study.
The model of Leech (1983) consists of seven principles and for Brown and Levinson
(1987),it consists of two principles of politeness where one of them is positive and the other is
negative politeness.
It is hypothesed that:
1. There is a relation between the two theories.
2. Synge deals with these theories in such a way to depict his characters.
3. It is also hypothesed that every character deals with these principles in such a way to show
the events of the play.
The study concludes that there is a relation between the two theories in d
Resumen
El trabajo se investiga en el realismo y la tradición social que incluye la tragedia Bodas de sangre, del autor español Federico García Lorca. A lo largo de estas páginas se da la luz sobre los temas, acciones, oraciones y palabras que pertenecen a la realidad de la vida española en general y sobre todo en territorio andaluz, en el que ocurren los sucesos de la obra. Así como las tradiciones sociales que el dramaturgo español contemporáneo abundando a lo largo de su texto, y que han sido tomadas de la herencia popular.
Literariamente, esta obra se clasifica como Tragedia Moderna, por la razón de que incorpora los elementos necesarios de d
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