خصائص المسرح التفاعلي عرض مسرحية (اعزيزة)انموذجا

Abstract

     The interactive art idea is employed in the theatrical show due to its relevance and vitality after the growing need to activate the role of the recipient following the invention of the multiple means and programs of communication. This idea of the interactive theatre is considered a method through which the director can make the receiver an active participant and producer. The current research aims to investigate the characteristics of the interactive theatre.

     The theoretical framework falls into two sections. The first section deals with the references to the interactive storytelling in the theater, the basic directorial methods that aim to make the theatre, to some extent, more interactive including the comprehensive theater and the epic theater and the theater of the oppressed, and the other tactics that go away from the traditional approaches of theatre in order to address the audience to contribute in changing the uneven conditions and situations.

The second section introduces the characteristics of the interactive theatre which include the following:

The language of the performance and conversation should address the spirit of the local community.

 It is important to adopt improvisation as the most effective way to build a collective perception, as well as the diversity in the performance of the actor and the general atmosphere of the show.

 The presentation spaces should vary in accordance with the events of the show and in a way which makes the audience interactive enough to ensure emotional interaction.

The researcher describes and analyzes the play (Izayza) by its three parts as well as what the director and performers do to create the interactive display environment.

The most important results of this research are as follows. The theatrical presentation of (Izayza) is based on the broadcast of a range of cultural and social codes that become part of a general intellectual reference. The show is to brief his audience with a pessimistic atmosphere of dramatic irony. The local spirit is reflected in the tone, themes, presentations, movement, dances, folk music, singing and gestures which all seek to get closer to the receiver and interact with him.

The researcher concludes that the basis for interaction is the existence of shared tribal traditions. The dynamic interactive theatre comes from being run on issues of public concern. The main concern of the interactive theatrical method is to consolidate the receiver's positive attitude based on the rule of the local spirit, which directs the receiver to be emotionally associated with the theatrical show by removing or reducing the psychological and physical distance between the performer and the audience; i.e., between the space of acting and the space of reception.