Sufism and its manifestations in the performance of the Iraqi theatrical actor

Abstract

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Sufi manifestations constituted a starting point for s elf-refinement within a process of continuous research and exploration for performance foundations with visual ritual concepts in its spiritual adoptions that enhance the type of physical performance of Sufism in terms of the intellectual and aesthetic employment of the body and what it can transmit through its precise and coded movements that combine the basic issues to touch the conscience of the recipient as a whole with the Sufi fold with its characteristic. The research included four chapters, the first dealt with (the methodological axis), including the problem in its question (What are the manifestations of Sufism in the performance of the Iraqi theatrical actor?(, While the importance of the research in his search for Sufi thought as part of an aesthetic structure that has religious and philosophical dimensions has not been addressed previously as a physical performative concept in theatrical performance, and the goal of the research is (Sufism and its manifestations in the performance of the Iraqi theatrical actor) , As for the limits of the research: spatially to include the theatrical performances presented in Baghdad, and temporally from (2000-2013). As for the topic, it is determined by studying the body and its Sufi manifestations in the performance of the Iraqi theatrical actor in terms of Sufi philosophical data and its artistic manifestations in the theatrical performance. The chapter concluded by defining the terms. The second section (theoretical research framework) included two sections, the first concerned with studying Sufism (origin and function) and dealing with the emergence of Sufism, and the second section concerned itself with studying (Sufism and its manifestations in the global theatrical performance), dealing with the most important theatrical performances that employed manifestations of the Sufi body in their performance contexts, and the chapter concluded with the indicators that the researcher reached.

The third included the research procedures, including the community from which the research was composed, which included (7) theatrical performances presented in Baghdad theaters for the period (2000-2013), and the research sample (A Dream in Baghdad) was chosen intentionally. The chapter also included the research methodology, the research tool, and sample analysis. The fourth was concerned with discussing the results, conclusions, recommendations and proposals of the research and then concluded by citing the sources.