The aesthetics of space in the performances of Du Soleil "The (1789) performance as a model"

Abstract

Abstract

Modern experiments have given birth to a theatre that seeks change, adopting discourse programmes as a means of communication. Among these experiments were the Sun Theatre, which came with renewed cognitive and aesthetic formations and what it contains in terms of development on the theoretical and practical levels. Based on the above, the research poses a question that is evident: What are the aesthetics of space in the Sun Theatre performances and its application in the performance of the play (1789)? The importance of the research, as the Sun Theatre is one of the experiments that sought to change the local goal towards global theatre. The need for research is focused on the benefit of students of colleges and institutes of fine arts, theatre students and researchers. The first chapter contained the limits of the research. The time limit was 1971 AD, the year in which a play entitled (1789) was presented, which talks about the French Revolution and is among the outputs of the Sun Theatre. The place limit was allocated to present the show in one of the suburbs of Paris in an area that was a weapons factory that became a place for the Sun Theatre. As for the objective limit, the research dealt with the aesthetic formation of space in the theatre and its effects on societies, as one culture disappears and another is born through the collision or cross-pollination of two ideas. The second chapter came with two topics. The first included the most prominent thinkers who dealt with the most prominent stations in the formation of aesthetic space, then the second topic dealt with the most prominent contemporary directorial experiences in global theatre. This was followed by the third chapter, which dealt with the research procedures represented by the research community consisting of the play (1789), which was presented in a way different from everything familiar in theatre, as the audiences roam around Several stages are used for the performance, followed by the acting, costume changes, makeup, and set design. This takes place in front of an audience, in a sense, integrating the backstage with the performance. The audience then analyzes the sample, which was intentionally selected to enable the researcher to view it on CDs. In the fourth chapter, the research methodology, a descriptive (analytical) approach, is used to arrive at accurate scientific results, adopting the indicators generated by the theoretical framework as a tool for analysis.