2024-01-14 20:13:08
Published on: January 14, 2024 Last updated: January 14, 2024
Read and comment: Ahmed Tanish
Since theater has been the actor, the mediator between all components, between creators, technicians, critics, theorists, scholars, and even the audience, and since theater has been the actor, the master, the leader, the sender, the mechanism, and the creator, the evidence is that the horizon of our waiting is often the actor, either through the actor himself whom we know or hear. Or we read regarding him, and the evidence is that we have come to see the actor from the viewpoints of the other, either the director, or through the scenographer or the dramaturg, who may be the director, the author, or both. Before that, we looked to the actor through the author and the characters he draws, and we also look to the actor in experimental directions. And the classics and others. He brought these approaches on the occasion of the 14th session of the Arab Theater Festival in Baghdad, which is organized by the Arab Theater Authority, and as usual in all its sessions, this is done in coordination with the relevant authorities in each Arab country individually, and in Iraq, coordination was made with the Ministry of Culture, Tourism and Antiquities and the Iraqi Artists Syndicate, and the entrance or The gateway to this reading approach to the presence and role of the actor in theatrical creativity came following an image that prompted me to engage in the fragrance of the scenes, their spirituality, and the process of reception through the mission, eloquence, and favor of the actor, who we are all, in presence and distance, in the actor’s hospitality, and the image that is before our eyes informs us of its connotations, its revelations, and the multiplicity of visions and aspirations. From which you quote, visions with multiple directions, in three directions, from one meeting point towards a receiving point from many sides, for three representatives of great caliber, not just age, and it is a testimony to the right of the image, its suitability, its presentation, its furnishers, and its senders, in addition to what is behind the image, or say, the backgrounds of the image that monitor the experience and the action. And the practice is spirit and presence through performance reports conveyed to us by the semiotics of the image with the connotations of color, shape, composition and spectacle, in the scenographic presence of the actor and the chair as if he were a fourth actor, a chair that also has three sides and in the middle of which are three signs that have their own meaning and are often used. The image says with its hoarse voice that the words of what was said or will be said, or perhaps It is a mournful speech, the speech of silence and the image, the interpreter of a drama with its sweat, groans, and breath, with an expression that connects with the power of the image, and there is the text of the image, indicating to us the four hands of three characters, that there are directions, movements, and semantic expressions that are diagnosed by two hands on a body and two hands on wood, and there is the speech of the eyes and looking forward and another. To my side and another who did not want to look, he positioned himself in the middle with his eyes closed, seeing inside himself or showing us inside him, to address all of us.
An image that says that the philosophy of the actor and the text of the actor and the actor, the author and the actor, the director and the actor, the scenographer is a spirit that lies in the theatrical performance, the diagnostic performative, the expressive performer, the translator of meaning through a structure, and the translator of the point of view of the theatrical director, who translates the theatrical text visually, or say, synthesizes the text scenographically, to reach the mysticism of performance, harmony, and honesty in the performance that He appears to us with this trio of actors and conveys a message that the theater is the presence of the actor, and for the actor the author wrote for the theater and for the actor the theater was a stage, lighting, furnishings, geography, walls and curtains, and it might be a legitimate or expressive space in some way, and the director comes thanks to the actor and roles and tasks come. The rest of the technicians are to highlight the actor and serve his interest, so that the recipient gets his view of the actor and regarding the actor and through what the actor sends, in a simple way of presenting to him what came before it in multiplicity, and his time in multiplicity, and what comes following it in dimensions…
It is a problem, an issue, and a topic that has been spread by many theories, discussions, differences, theories, theatrical trends, etc., whose hero is the actor, in presence, body, spirit, absence, effect, and distance. For Stanislavsky, the actor is well prepared in order to build his character to take on the principle of reincarnation, integration, and the psychological dimension. The method was followed by his students who developed the method and created it. Among the most important of Stanislavsky’s students is Svold Meyerhold, who revolted once morest the immunity of the author and the text together, and paid attention to forming, training, and building the actor. His personality and preparation are well prepared, and he rejects the realism of his teacher, Stanislavsky. If we move to “Brutholdbrecht,” who rejects reincarnation and purification, we find him revealing through the actor the game of theatricality and the secrets of the character, and shows the audience that he is only acting.
Just as we find in Meyerhold the actor is a mechanical mechanism with a lively and lively dynamic, and in Grotowski we find the comprehensive actor, and in André Antoine the actor is ritualistic and imitates nature, and Jacques Lecoq sees the actor as a body, and Max Meiningen sees the actor as the relative. From historical realism, as Edward Cruden Cry, by the way, an English innovator from the nineteenth century, an actor, director, designer, and theoretician, the author of the theory of symbolic and reformist theatre, and who has a book that is considered a reference for “theatrical art,” called for the actor, the puppet, the marionette, and the puppets that move, which the other creates according to the image he wants. He wears it as he wants and creates the body he wants and moves it as he wants and in the direction he wants. With this approach, Crick revolted once morest the realistic actor and the natural actor who remains trapped in the logic of imitation, emulation, and superficial integration. He called for a representative of creation and creativity. With this choice, Crick leans toward the dictator director who His orders are obeyed and not discussed, and it was said that the reason for this position on “Crick” was to respond to the conceited actor, the boastful and arrogant star, who was spoiled by the public, criticism, and the media in his various forms at that time. Indeed, the actor still has this position in drama in general.
Grotowski believes, through his experimentation and the theory of poor theater, that it is possible to dispense with a group of theatrical components, but we cannot dispense with two basic elements: the actor and the audience. Thus, the actor is considered sacred, and some ancient and modern trends both believe that the true actor is the one who… He fully realizes what he is doing within the limits of his assigned task, so he begins to fill the voids within the folds of the role. Therefore, he will not completely hide from sight, but rather he is like the thing and its shadow. Accordingly, it becomes clear to us through this theoretical and historical narrative regarding the actor’s status, presence, and history, which was revealed to us. A significant and eloquent image whose hero is the actor, that the actor has trends, patterns, tendencies and schools within the theatrical schools. Thanks to him, theories and other perceptions came and the readings will continue and the actor will not announce his death..
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