Main Article Content
The study sheds light on the communicative relationship between the actor and the receiver and between the show and the recipient, as the actor seeks to sense his abilities and emotions to reach the level of creativity that is embodied by his body movements, facial expressions, and the flexibility of his voice to highlight his psychological components according to the concept of the psychological cry because of its important semiotic meaning that is subject to interpretation by the recipient as a sign Vocal proceeds from the psychological state of the actor. The research problem is represented by the following questions: What are the connotations of the cry in the theatrical performance speech? As for the limits of the research, they are: objectively, studying the connotations of the scream and its types in theatrical presentation discourse, and spatially, the performances of the Faculty of Fine Arts, University of Babylon, and temporally the period between 2003 - 2006. The study presented the mechanism of producing the meaning philosophically, the mechanism of producing the scream in the theatrical performance and the mechanism of producing the scream psychologically. The research community consists of twelve theatrical performances exclusively directed or represented by faculty professors. Among the most important results of the study is the emergence of the cry in the selected theatrical performances in different proportions and with different connotations according to the different motives, causes, and temporal and spatial positions within a single theatrical work. The connotations of the cry are directly proportional to the course of the events of the play, starting from the starting point of the event until its end, as if it were a harmonious rhythm consisting of a series of cries: one of them was a reason for the production of the next cry, so the cries were linked with each other by causal relationships.