Directorial Treatment of Rebellion in Contemporary Iraqi Theatre Performances
DOI:
https://doi.org/10.35560/jcofarts1787Keywords:
Rebellion, Directorial TreatmentAbstract
The current study delves into the turbulent transformations that Iraq has undergone in recent decades, during which the theatrical stage has become a restless mirror reflecting a disturbed reality and a space overflowing with questions and challenges. Iraqi theatre has never merely been a venue for performance and entertainment; rather, at its aesthetic and symbolic core, it has consistently served as a voice of protest, relying on rebellion as a tool for deconstruction and reconstruction, and as a form of confrontation with the dominant and the familiar.
The director emerges as the most significant aesthetic agent in transforming rebellion from a concept into a vibrant visual act. The director’s role goes beyond merely staging the text; they reframe it through visions that favor breaking the rules and dismantling the rigid structures that have constrained theatrical thought.
Accordingly, the aim of this research is centered on studying the concept of directorial treatment of rebellion in contemporary theatrical performances. This is done through the lens of psychological, social, and philosophical studies, and how to interact and harmonize among them in ways that align with intellectual and technological advancements. This is encapsulated in the central research question:
How have directorial treatments of rebellious themes been manifested in contemporary Iraqi theatre, by surpassing traditional directing styles and striving for modern intellectual and aesthetic formulations that reflect the transformations of contemporary reality?
The scope of the research is limited to studying rebellion as an intellectual and aesthetic direction, by focusing on directorial approaches that go beyond traditional methods and offer new visions that mirror social, political, and cultural changes. The study analyzes directing elements such as the director’s vision, stage imagery, actor movement, space, and audiovisual techniques as effective tools for portraying rebellion.
The research includes a methodological framework that defines the problem, its significance, and objectives, in addition to a theoretical framework comprising two sections:
- Section One: The essence of rebellion.
- Section Two: The directorial treatment of rebellion in contemporary theatre.
The analysis is based on theoretical indicators, and the play "Ya Rab" (O Lord) directed by Mustafa Sattar Al-Rikabi was selected as an applied case study.
The research concludes with several key findings, the most important of which are:
- Theatre of the Absurd and the Irrational generates dramatic conflict that reveals intellectual and performative features open to multiple times and spaces.
The diversity of directing styles has added hidden symbolic dimensions in light of rebellious ideas
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