Bauhaus and Its Reflection on Stage Design

Abstract

Abstract:

What most characterizes theatrical art is that it is an independent art form in its own right. From this concept، theatre is considered one of the highest forms of art due to the significant ideas it presents and the implications they carry. Theatrical art is a comprehensive art that encompasses all other arts on stage، and through various historical periods، it has maintained constant communicative interaction with visual formations، culminating in the twentieth century. This era represents one of the most critical turning points for experimental theatre، as it witnessed the emergence of influential artistic movements، directors، and technicians who worked under this significant principle. Experimentation in this context provided a broad space for lines، colors، and forms، enabling the emergence of countless possibilities for various artistic treatments—all contributing to the development of theatrical art and its elevation toward creativity and aesthetic excellence.

The researcher chose the topic “The Bauhaus and Its Reflection on the Design of Contemporary Iraqi Theatrical Performance Technologies” as the subject of this study، which was structured into four chapters.

The first chapter dealt with the methodological framework، which included the research problem، formulated as the following question: How can the Bauhaus aesthetically and artistically express itself through the interweaving of arts within the structure of the Iraqi theatrical scene? The significance of the research lies in its focus on shedding light on the concept of the Bauhaus and how it has been reflected in the design of theatrical performance technologies in Iraq، attempting to identify the most prominent features of these reflections and their aesthetic dimensions، as well as highlighting the various visual formations in the process of designing theatrical technologies.

The importance of the study also lies in its benefit to practitioners in the theatre field across its various specializations. The chapter also included the research objective: To identify the Bauhaus through its compositional representations and its reflection on the structure of theatrical scenery، via analytical studies of performances. It also defined the research boundaries، which were limited geographically to Iraq (Baghdad) and chronologically to the year 2015، based on justifications provided by the researcher، along with a definition of terms. The second chapter focused on the theoretical framework and previous studies، divided into two sections: The first section explored the epistemological foundations of the Bauhaus (its emergence and concept).

The second section addressed the cultural engagements of the Bauhaus.

The third chapter included the research sample، which was intentionally selected by the researcher. The fourth chapter presented the findings، including the most significant results.

1       It is possible to achieve or create a universal style through the integration of emotion and rationality.

2       Emphasizing simplicity and fundamentals enhances the artistic value of theatrical work by enriching the audience's experience and strengthening artistic communication.

The conclusions included:

1       The most distinctive features of the Bauhaus style are simplicity، experimentation، and a shift toward basic forms.

2       . One of the core foundations of the Bauhaus lies in the artistic-architectural synthesis and in laying down the principles of design fundamentals.

Finally، the researcher presented recommendations، suggestions، references، appendices، and the abstract in English.