Theatrical performance in the manifestations of the Kurdish theater

Abstract

The research deals with the study of the aesthetics of the representative performance and the extent of its contribution to achieving theatrical performance, the great role of the aesthetics of the actor's performance in the theatrical performance, and the emergence of aesthetics that contribute to theatrical performance. The actor’s skills in the theater resulted in a number of performative and artistic methods that contributed to the achievement of a Farjoy theatrical performance that goes back to the origins and roots in its artistic structure, in accordance with the renewal and diversification and according to the theatrical performance requirements of those theatrical performances in the contemporary Kurdish theater.

Or the primitive manifestations of the appearance of watching in religious rituals and the practice of popular occasions such as wedding parties or some folkloric games that were practiced by experienced people in the presence of a large audience of the public. The acting performance came to contribute to the formation and creation of the presentation process by employing it aesthetically and intellectually in proportion to the significance of the characters and their artistic expressions, in a performance relationship that exists between the actor and the components of his theatrical surroundings. This is reflected on the recipient to lead him and bring him out consciously from one condition to another, a higher or superior condition, in which he is present within the body of the show, so the spectacle is achieved in its full concept through the integration of all the elements of the show with each other, and the actor is one of the most important of these elements. Therefore, there must be a representative performance according to aesthetic values ​​that achieve the viewing.