Technical Dominance and its Manifestations in Contemporary Iraqi Theatrical Performances

Abstract

This research was concerned with the study of (technical hegemony and its representations in the contemporary Iraqi theatrical show).

 It contained four chapters. The first chapter dealt with (the methodological framework), including the research problem, which was defined by the following question: (What is technical dominance and its representations in the contemporary Iraqi theatrical show)? The importance of the research was manifested in knowing the concept of technical dominance by employing a technology or a group of techniques in the discourse of the audio-visual theatrical performance, because of its importance in making the visual and mental image and its own language, and despite the presence of the element of domination, the intentionality is aesthetic and intellectual and the influence of the directors And the scenographic designers with modern technology, as well as their uniqueness and distinction, prompted them to resort to experimentation by using technology, employing it, and making it a discourse that parallels the vocal and the performance of the actor, and even masters them.

 The aim of the research was to (know the technical dominance and its representations in the contemporary Iraqi theatrical show), and then the temporal and spatial research limits and the subject limits, as the time limits extended from (2013-2017 AD), and as for the limits of the place, the researcher chose (Iraq / Baghdad theatrical performances presented on stage of the national theater), and the limits of the subject, so the study identified (technical hegemony and its representations in the contemporary Iraqi theatrical show), and the chapter concluded by defining and defining the terms, and the researcher reached the procedural definition of technical hegemony (it is the superiority and sovereignty of one or more technical elements over the totality of other show elements to form a discourse through them Theatrical, audiovisual, aesthetic vision, bearing the ideas of theatrical presentation.

)The second chapter dealt with (the theoretical framework), which included two chapters on me (the first chapter) studying dominance, reviews in the concept and terminology, while (the second chapter) was concerned with studying technical dominance in global theatrical experiences) and the chapter was concluded with previous studies and indicators that resulted from the theoretical framework.

  As for the third chapter, which is (the procedural framework), it is concerned with analyzing the research sample, which included a presentation (reveals) directed by Ghanem Hamid, and the research ended with some results from the fourth chapter, of which the technical dominance sought to create a technical text that is parallel, but rather superior to the uttered, because the technique is a non-verbal language that can be read.