THE AESTHETIC EFFECT IMPACT OF STREET THEATER IN CREATING AN INTERACTIVE COLLECTIVE AWARENESS DOCUMENTING THE MEMORY OF THE VICTIMS OF THE GENOCIDE SURVIVORS (YAZIDI WOMEN AS A MODEL)

Authors

  • Muntaha Tareq Hussien Al-Mustansiriya University / College of Basic Education

Keywords:

collective consciousness, street theater, memory, victims

Abstract

Street theater differed and was distinguished by its form and the type of its audience, which varied in its random nature for all the components of society, and with this random theatrical audience, it is very possible to satisfy the needs of what is going on in the depths of what the street touches on topics that flow into the structure of society within a striking artistic and aesthetic framework and form, so the need for theater became The street is much larger in presenting the immediate concerns and problems that convuls the simple recipient, so the street theater was a broader alternative to presenting topics of concern to the human self and the needs of society within its awareness of dealing with its daily life issues in a way that differs from its routine day . This study had to find keys that give the recipient to open an important case within the boundaries of street theater, which is the issue of the Yazidi woman, by awakening the mind of the recipient in the embodiment of that wound and documenting and consolidating what this woman faced in terms of violence and abuse within a real confrontation, and what she suffered from extremist ideas influenced by opinions Extremist religious leaders in robbing women of their will and deepening the gap of their presence as an intellectual and social personality, and how they suffered and faced what happened to them at the hands of the terrorist organization ISIS (genocide), which will remain stuck in the minds of the Iraqi recipient and be an incentive for women to take another path that the whole world must recognize through experiences and stories There are many texts and theatrical performances, so this wound must be documented and these sufferings conveyed in order for it to remain firmly rooted in the mind of the street. The best and reliable mediator in documenting this living memory through performances that suit the different levels of the recipients in a surprisingly theatrical and aesthetic way.

References

Bashar Aliwi: Street Theatre: Excavations of Concept, Function and Production, Amman, Dar Al-Radwan for Printing and Publishing, 2015.

Amer Sabah Al-Marzouk: Street Theater and Openness to the City's Spaces, Teater Magazine (Erbil International Theater Festival, Sixth Session), 2019.

Manfred Frank: The Limits of Communication (Consensus and Conflict between Habermas and Lyotard, TR: The Ezz of the Arabs by Hakim Bennani, East Africa, Morocco, 2003.

Innes, Christopher: The Vanguard Theatre, TR: Sameh Fikry, Cairo, 1994.

Abi Saab, Pierre: The Death of the Wandering Anarchist Julian Beck, Youm7 Weekly Magazine, p. 74, 1985.

Langer, Suzanne: The Philosophy of Art, prepared by: Radi Al-Hakim, Baghdad, General Cultural Affairs House, 1986.

Public Space between Consensus and Dispute, within the Book of Watching and Public Sphere, supervised and coordinated by Khaled Amin, Publications of the International Center for Watching Studies.

Colin Chambers, The Continuum Companion to Twentieth-Century Theatre, ed. Colin Chambers, London, 2002.

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Published

2023-06-26

How to Cite

Muntaha Tareq Hussien. (2023). THE AESTHETIC EFFECT IMPACT OF STREET THEATER IN CREATING AN INTERACTIVE COLLECTIVE AWARENESS DOCUMENTING THE MEMORY OF THE VICTIMS OF THE GENOCIDE SURVIVORS (YAZIDI WOMEN AS A MODEL). European Journal of Humanities and Educational Advancements, 4(6), 37-42. Retrieved from https://scholarzest.com/index.php/ejhea/article/view/3673

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Articles