Body Semiotics in Contemporary Iraqi Theater Performances: Moneim Saeed as a Model

Abstract

The body constitutes one of the important aspects of the continuity of life, as peoples and societies did not have a language more eloquent than the language of (gesture, sign, and movement) in expressing what the human soul harbors. Man expresses pain, sadness, and joy through the body to convey a specific meaning. Movement gains great importance, therefore it has become Under the lights of many sciences, including semiotics, specifically within the framework of body semiotics, as it is a science upon which many disciplines and fields, such as psychology, are based in diagnosing some behaviors of individuals and societies, and that the semiotic system of movement has become in the light of development, which calls on the recipient to interpret signs and symbols and find answers to them, the body It is a basis in the development of life and thus becomes a large and important part of the theatrical performance as it is a visual means of communication that broadcasts signs. For this reason, many directors resorted to semiotic references through movement, including director Moneim Saeed. In light of this, the research was divided into four chapters.

The first chapter (methodological framework) included the research problem and the need for it, and centered on the following question: What is the semiotics of the body in contemporary Iraqi theater performances (Moneim Saeed as a model)? The importance of the research was: shedding light on the semiotics of the body in the contemporary Iraqi theatrical performance (Moneim Saeed as a model) ?

The need for it lies in the fact that it adds to those working in theater affairs and institutes and colleges of fine arts. The aim of the research is that it aims to: Learn about the semiotics of the body in contemporary Iraqi theatrical performance (Moneim Saeed as a model,)? In addition, this chapter contains the temporal limit, which is limited to the period between (1978-2018), while the spatial limit: Iraq, Diwaniyah, while the objective limit is represented in the study of body semiotics in Moneim Saeed’s theatrical performances, as well as the definition of terms as language and terminology for body semiotics. As for the second chapter (the theoretical framework), it included two sections. The first section: the study of semiotics, a conceptual definition. The second section: the semiotics of the body in the world stage. This chapter contained previous studies, and the outcome of the theoretical framework was a number of indicators, then the procedural chapter and analysis. The fourth included (research results) and a number of. The chapter also included recommendations and proposals, as well as the research included a list of research sources and appendices.