for humanities sciences al qadisiya,
2018, Volume 21, Issue 3, Pages 419-446
AbstractThe theme of this study is determined by the cultural identity as a rich tendency in the vocabulary and personality traits of the theater since the emergence of the Greek civilization and through the Renaissance and beyond the nineteenth century, where the components of cultural identity language and religion history and heritage is central to the identification of any society through the language of the theater which imitate the foundations of life in all its social, political, economic, cognitive and aesthetic aspects, where the Iraqi cultural identity in the university theater offers rich humanitarian speeches with new knowledge and concepts added to the recipient's own alphabet which provides the vision of the imagination of things and starts the doors of reading the future in a different artistic way in addition to the promotion of the spirit of belonging through the revival of history and heritage through the treatment of the output of the various methods and schools in the spirit of modernity and renewal techniques, as the search included mechanisms to engage the components of cultural identity in the theater performances in terms of formal images and concepts cognitive and reflective on the recipient . The study also included four chapters , The first chapter included the methodological framework for research , starting with the problem that ended with the following question : What she Iraqi assimilations of the identity in the university theater performances? The aim of the study is to identify the identity of Iraq and assimilations of university theater performances , The theoretical framework of the research includes three topics. The first section deals with the cognitive origin of identity , the components of identity (language, religion, history and heritage), History and heritage - language - religion) The third topic is the cognitive values in the university theater , The researcher has reached a number of results, the most important of which was the use of some plays in the reading of religious historical identity in a contemporary manner technically and aesthetically, providing critical, conscious, insightful excerpts for the recipient through the combination of rooting and contemporary as well as the identity of the university theater performances in the Iraqi folklore. .
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