مستويات التأويل في بنية نصوص مسرح الغضب والاحتجاج (مسرحية طفل زائد عن الحاجة انموذجاً)

Abstract

Theatre is one of the interactive arts through which many cultures travel, whether through text or performance, and these cultural cross-fertilizations result from the dialogue among civilizations and the exchange of man knowledge according to the growth of those societies, their needs and some of their common problems, as many theatrical currents, theories or artistic trends and techniques have emerged throughout the ages and formed an important spot in the history of these societies, to produce many forms and contents, inspired by their problems and crises, like the first and second world wars, the Industrial Revolution, the French Revolution, or the political, geographical and economic changes that affected the structure of these societies which in turn led to a change in the discourse map in the theatrical text of the modern and contemporary theatre.The Iraqi theatre, like the rest of the theatres in the world, has been affected by its local, regional, Arab and global environmental surroundings. Post-2003 changes affected the nature of the discourse directed to the public, as well as overcoming the taboos that were established before and going into their details openly, as the research presented in four chapters, in which the researcher discussed in the first chapter the methodological framework of the research problem, which is a question that examines what are those interpretive levels in the structure of protest and anger theater's texts ? As well as, defining and deconstructing the levels of interpretation, and then delving into the structure of protest and anger theater's texts, as Barth identifies that "There is no machine to read the meaning, in fact there are translation machines that now contain and will inevitably contain machines to read... (and pluralistic systems) the meaning in the text, which is possible in its connotations and movement, and the rejection of the final meaning of the text, as we see from the systems of meaning. (See: Bart, 2009, pp. 31 - 48 - 73.)Barth showed that there is no final product, which refers to the open and continuous interpretation of the structure of the theatrical text, then the importance of research that benefits students in the fields of theater in general and theater criticism in particular, to achieve the goal of the research, which is to identify the structure of protest and anger theater's texts, spotting them, deconstructing their structures and indicating their features.Then the researcher touched on the temporal limits of her research in (2001) and spatial in (Damascus - Syria) and then the objectivity that relates to the title of the research. As for the second chapter, it came in two sections, the first is (the philosophy of interpretation, the text and its levels), and the second topic (the structure of the text in the theater of anger and protest), after which the researcher came out with a set of indicators. As for the third chapter, it was procedural, concerning the research community, the analytical descriptive research method, the research tool, the research sample, and then the sample analysis .In the fourth chapter, a set of results, conclusions, recommendations and suggestions were reached, then a summary of the research in English language.