Semantic activities of the evil character's performance in a theatrical show (Faust) as a model | ||
| Anbar University Journal of Languages & Literature | ||
| Article 6, Volume 10, Issue 3, November 2018, Pages 133-170 PDF (852.63 K) | ||
| DOI: 10.37654/aujll.2018.170694 | ||
| Author | ||
| Shaaban Rajab Abdulrazaq | ||
| Abstract | ||
| AbstractExpressive Executions and the Performance of Evil Character in the TheatricalShowThis paper is about the practical executions of the performative expressiondone by the actor in the theatrical show to convey the intellectual, social, andaesthetic meaning to the audience. The evil character is a composite character inperformance and interaction on the stage. It expresses the performative activities andtechnical skills. It is associated with special cases related to specific mentalconditions and is applied practically into movements executed willingly under antistimuliwhere the actor is supposed to have the ability to create new sensory ormental images registered in human consciousness on the principle of transformingthe impressions gathered from reality and re-shaping them aesthetically inside theshow in such a way as to allow the the societal culture to rearrange the awarenessvia this character which is deeply rooted in the depths of Mankind and his myths,religions, and popular and cultural heritage to grasp the their hidden meanings.Thispaper tries to answer the following query: how can the actor execute his performativetechniques and how can the audience decipher meanings and understand andcommunicate with them. The paper is divided as follows: the problem , significanceand limitations of the paper, explanation of the concept of evil character, thetheoretical framework which consists of two sections: the first section is about theevil character and the views on it (philosophical/dramatic narration) whereas thesecond section deals with the expressive execution in the work of the actor and theway to establish its performative techniques. The researcher came out with someindicators that can be used to analyze the sample of the study. An analysis of Faustplay as a sample was conducted then. The following results were arrived at: themovements and gestures of the actor and the the portrayal of his body shape as amulti performative and skill build-up. It is a projection on the intellectual,psychological, and social level of the character. It also contribute to enhance thedramatic action and push it forward. The amount of movement and the gesture fluxis a shaping system that uncovers the coded meanings. A bibliography of the sourcesof the paper is given at the end of the paper followed by an Arabic and English | ||
| Keywords | ||
| semantic; Activities; performance; theatrical | ||
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