Aesthetic and physical awareness in theatrical performance –radio
Abstract
Abstract
Aesthetic awareness is a pivotal concept in understanding the contemporary theatrical experience. Performance is no longer merely a means of conveying dramatic content, but rather a visual and physical space that stimulates the recipient's aesthetic perception. This research aims to analyze the theatrical performance (broadcast via YouTube at the link above) to understand the mechanisms of shaping aesthetic awareness through the use of image, physical movement, and lighting, as elements that shape the aesthetics of the theatrical experience. Theater is a transformative, communicative, performative language, beginning with written language and then audible language. The director creates it using all the elements that support his artistic vision, all the way to the recipient, who completes that image (language) through reading it. It is the product of elements that come together in a harmonious way, forming the theatrical act. The production of theatrical discourse requires a method, mechanism, and techniques that enable the transformation of written texts into audible texts on stage. This requires a relationship with the recipient as an interpreter of the vast number of these texts, coupled with a political, social, intellectual, and artistic incubator. Experimental waves emerged, and their accompanying acceleration in the development and diversification of forms of theatrical discourse ranged between elevating the written text and diminishing it, although diminishing it was more prevalent. The auditory text became corrupted at the expense of the written text. In the theater, the nature of the writer, the reader, and the text, as well as the relationships between them, changed. All of this is conditioned by the recipient's role being more active, as a participant rather than a mere spectator. This was reflected in theatrical techniques, which are one of the components of the theatrical discourse space. These texts are composed of a set of texts—not just written texts—but also include visual and auditory elements (technics being one of them), which they contain as a whole, producing their own sign within the formative structure of the performance. Theatrical signs are distinguished by their ability to transform and transition from one aspect to another and from one state to another. Theatrical discourse is formed in an audible form, completed by the recipient's interpretation of it as a whole. Importance and Need for Research The importance of the current research lies in its study of modern techniques in theatrical presentation, examining the most prominent of these elements and their mechanism of operation, as they perform an integrative and aesthetic function in forming the theatrical image through radio. Furthermore, its importance, particularly in theatrical presentations, lies in the ideas and content they contain within their structural and formative elements, which constitute or constitute them. Furthermore, the subject has not been addressed in previous studies, particularly in theatrical presentation through radio. Therefore, the researcher found it necessary to study it. The need for it lies in the following: It will benefit students of the Department of Theater Arts, specializing in directing and theater techniques, by familiarizing them with the mechanisms of operation of modern techniques in contemporary Iranian theatrical presentations. Furthermore, it will benefit students of the Department of Theater Arts, specializing in directing and theater techniques, by familiarizing them with the history and origins of Iranian theater. Research Problem Contemporary artistic and philosophical discourse emerged in an era of decentralization and intellectual dialectical contradiction, produced by the outcomes of postmodernist thought, which pervades the collective thought of society. This discourse proclaimed a revolution against the slavish mind, which operates within a specific rational methodology and places humans within a structure and system governed by social laws and norms. This followed a series of influences and changes that affected human societies, including wars and political, economic, and social changes. This shifted life in general toward unrestricted and uncontrolled liberation, which was reflected in art and theater. Theater is the eloquent language expressing all the problems, changes, and developments within society. Modern and contemporary artistic theaters and directing methods emerged to challenge the frameworks, rules, and laws of theatrical art. Therefore, the process of breaking away from laws and regulations was one of the most important requirements of new artistic expression, because humans were no longer able to interact with the centralized and dominant forces that controlled them. Instead, they inclined their senses and emotions toward freedom and liberation, entering the world of imagination and the world of the unreasonable to achieve their desired goals. He dreams of it in his imagination, the depths of his soul, and his wishes. Directing schools tended toward this aspect, influenced by philosophies and intellectual and philosophical references that took this direction as their starting point. Most notable of these were the doctrines and movements that rebelled against reality and called for the destruction of all laws, customs, and foundations established by man and harnessed to serve his goals, whether social, political, or intellectual, and for building life on the rubble of this wreckage. Hence, the research problem emerges in the following question: What is the mechanism of convergence between artistic and aesthetic treatments in radio theatrical performances? Research Objective The current research aims to identify: 1- Aesthetic awareness in radio theatrical performances.
