Al-Academy

Drama is from the ancient human arts, it appeared with the presence of the old man, as it was the means that he used to simulate the surrounding reality and even his Aristotle imagination to embody it in the form of rituals and dances expressed in a symbolic way.
Drama is closely related to humanity since ancient times, and it is considered one of the oldest performing arts known to man, as was the first to look at the drama in his book The Art of Poetry, as he defined it as the art of simulation, and it is the root of every art and includes all the arts including epic poetry, tragedy, comedy and music.

The drama was first associated with the theater, and its name was associated, and then it was able to benefit from the technological developments accompanying the world, so discovering the camera and the invention of cinema and television had an influential role in the historical development of the drama and its forms. As direct as the theatrical text in which the drama depended on dialogue and physical expression, but rather evolved into another form that fits with modern techniques of cinematography and television represented by the scenario in which the narration relies on (image and sound).
So the drama started in the cinema and television by transferring theatrical and fictional texts to a screen to feed its permanence, and it did not stop at that, but began to rewrite the events of the biographies of known figures throughout history and presented to the recipient. And she made her own genre known as historical drama.
Historical drama is a source of knowledge of the past and the events and knowledge and cultural values it entails for many recipients, despite its imagination, which may be somewhat far from the historical events that actually took place. And that is because the Malfives possesses a wide freedom for creativity in formulating dramas in all its forms and historical ones, and at the same time maintains the credibility of its events within its general framework, and that is based on documents and historical books authoring the film or series.
Through this research, we will try to get acquainted with TV drama and its role in embodying historical figures and transferring them to the recipient to enrich his culture.
The research is divided into three chapters, including:
First: Chapter One: The methodological framework, which addresses the research methodology, including the research problem, its objective, and its importance. It also defines the most important terms used in the research title, as well as the research samples and previous studies on the subject.
Second: Chapter Two: The theoretical framework, which consists of the following sections:
Section One (Drama and Narrative Diversity)
Section Two (History between Reality and Dramatic Formulation)
Section Three (The Concept of Historical Drama)Chapter Three: Analysis of the samples (referring to the historical series "The Conquest of Andalusia").
Chapter Four: Presents the results and conclusions, and finally, a list of footnotes and sources included in the research

Modern digital marketing advertisements through electronic platforms and applications are a necessary need to obtain various and diverse products from all brands from different parts of the world. It is the fastest way to save time and effort, as it provides promoters with thousands of followers
that are free of complications and achieve profits and financial returns, as the individual can learn about products via the Internet, which provides ease of communication and acquaintance and all offers, sales and purchase operations. The research goal includes identifying the design trends of the digital advertising marketing culture. The research included the research problem, the importance and limits of the research, in addition to defining the terms and the most important conclusions: that the researcher reached through the research are. Adopting modern design trends in digital advertising enhances the effectiveness of promoting and marketing these advertising products, as it has the potential to achieve goals in designing high-quality advertisements by displaying images and video clips

The aim of the current research is to identify (the role of free artistic activities in enhancing creative imagination among students at the Institute of Fine Arts). The research was applied to two groups, experimental and control, with (30) male and female students (15) students for each group. After applying the program sessions consisting of (ten sessions)
To achieve the research objectives, the following hypotheses were formulated: There are no statistically significant differences between the pre-test and post-test scores of the experimental group on the artistic activities scale; there are no statistically significant differences between the pre-test and post-test scores of the control group on the artistic activities scale among students; there are no statistically significant differences between the scores of the experimental and control groups.
For the post-test on the scale of artistic activities among students, the research was conducted on two groups, experimental and control, with (30) male and female students (15 students in each group). After implementing the program sessions consisting of (ten sessions), the following results were obtained
1. Statistically significant differences were found in Favor of the post-test, indicating that the program significantly improved the creative imagination of the experimental group students after its implementation.
2. The Wilcoxon signed-rank test results showed no statistically significant differences between the pre-test and post-test scores of the control group, meaning that their level of creative imagination remained unchanged during the program During the study period:
3- The Mann-Whitney U test results showed statistically significant differences in Favor of the experimental group in the post-test, confirming that the training program had a clear and lasting impact on improving the creative imagination of the experimental group students compared to the control group, even a month and a half after the program ended

This research is based on the hypothesis that the effectiveness of theatrical performance increases when its strategies are deliberately directed toward the spectator, not only drawing them into the space of reception but also implicating them in the very process of the dramatic event. Such an approach relies on directorial pre-calculations aimed at generating shocks and stimuli that enable what may be termed the "performance of the spectator." Within this framework, the study examines multimedia theatrical productions that seek to enrich their artistic and aesthetic discourse by activating the creativity of the audience and integrating them as an organic part of the performative system.
The research is structured across four chapters:
Chapter One outlines the methodological framework, presenting the research problem, which assumes that the theatrical spectator can become both performer and co-creator of meaning within the performance system as a whole, according to a predetermined strategy of the production. It also defines the significance, objectives, limitations, and the operational use of the term performance.
Chapter Two provides the theoretical framework, addressing: (1) The Human and the Dialectics of Reception, and (2) The Performance of the Spectator in Multimedia Theatrical Production.These discussions yield scientific indicators that serve as analytical units for examining spectator performance in Iraqi theater.
Chapter Three details the research procedures, including methodology, sampling, and analysis, with the case study of the play Red Carpet (dir. Jabbar Joudi, 2015).
Chapter Four discusses the findings, presents the conclusions, and lists the sources and references

The feminist discourse systems constitute the mirror itself and what it seeks through its imaginations of creating a product to possess its presence in society and to ascend the culture of the era through the metaphysics of the new systems. Its discourse is a product of post-modernism that attempts to marginalize the center and centralize the margin. Therefore, the researcher studied (feminist discourse systems in contemporary Iraqi theater) and divided it into four chapters. In the first chapter, he addressed the research problem, which was defined by the following question (What are feminist discourse systems in contemporary Iraqi theater)? In addition to the importance of the research, as it is a study that benefits specialists in theater studies, as well as the limits of the research, in addition to defining the terms included in the research topic. In the second chapter, the theoretical framework was divided by the researcher into two sections: the first section (The concept of feminist system) and the second section (Feminist discourse). Then, he concluded the chapter with the most prominent indicators that the theoretical framework resulted in. In the third chapter, the research procedures were included, which included the research community represented by all the performances that carried the feminist discourse, which the researcher placed in a table in Appendix No. 1, and the research sample consisting of the play Khilaf addition to the descriptive analytical research method and research tools. The researcher concluded the chapter by analyzing the samples. In the fourth chapter, after analyzing the sample, the researcher reached the most important results, conclusions, recommendations, suggestions, a list of sources and references, and a summary of the research in both Arabic and English

The research examines the art of elocution by actors, which is one of the primary tools used by actors in embodying their roles in a theatrical performance. The skills and techniques involved in the art of elocution are also central to this research, as is the resulting sound characterization of the character on stage. This is reflected through the actor's study of the nature of the art of elocution, to engage in the process of producing a clear meaning for the recipient. Therefore, the researcher found it necessary to adopt a theme and formulate the title of his research: "Elocution Skills in the Acting Performances of Iraqi Theatrical Performances."
To achieve this goal, the research was divided into four chapters:
Chapter One (Methodological Framework)
The researcher identified the research problem, the need for it, the importance of the research, and the research objective. The researcher set the study for the year 2023 in Iraqi theater. The researcher then defined the study's terms (skill, elocution, performance, acting).
The second chapter addressed two topics that formed the theoretical framework, as follows:
The first topic: "The actors' elocution mechanisms"
The second topic: "The skill variable of the acting performance"
The researcher also derived a set of indicators within the theoretical framework.
In Chapter Three (Research Procedures), the researcher narrowed down his research community. He then adopted the intentional method of selecting a research sample, which consisted of a single theatrical performance, the play "Liquid Fear."
The researcher used the measurement method as the units for analyzing the research sample model.
Chapter Four included a presentation of the research results the researcher reached, which achieved the research objective. The conclusions from these results represent complementary answers to the research objective. Chapter Four also included a list of Arabic sources and references, appendices, and a summary in English

The national anthem is a true reflection of a nation's history and the struggles of its leaders. It embodies the beliefs and traditions of its people and expresses national identity. The symbols of leaders, kings, and figures with a historical legacy become anthems sung by the people. Therefore, the national anthem serves as the foundation for stirring patriotic feelings among citizens, reminding them of their nation's glory and the nature of their land. This strengthens national belonging, regardless of ethnicity, religion, or belief. The national anthem's content showcases the characteristics of nations and celebrates the courage and strength of their heroes, who defended the right to a dignified life for all people. National anthems in Arab countries, especially those of the Arabian Gulf, are characterized by simplicity. In terms of their content, they carry several forms, some with a royal character, others with a republican character, and others with a regional character. There is another type of national anthem that expresses feelings of love and pride in the nation, homeland, and history. If we accept that the text of national anthems is in harmony with the melodies, then we find that the construction of the narrative meaning of the text and melody is subject to controls that are embodied in how each of them is built according to a harmonic consistency in text and melody. Based on the above, the researcher found that the justifications for this research lie in (the extent of the poetic text’s structural conformity in terms of rhythm and melody with the melody in the musical scales of the national anthems of the Arabian Gulf countries).

The current study delves into the turbulent transformations that Iraq has undergone in recent decades, during which the theatrical stage has become a restless mirror reflecting a disturbed reality and a space overflowing with questions and challenges. Iraqi theatre has never merely been a venue for performance and entertainment; rather, at its aesthetic and symbolic core, it has consistently served as a voice of protest, relying on rebellion as a tool for deconstruction and reconstruction, and as a form of confrontation with the dominant and the familiar.
The director emerges as the most significant aesthetic agent in transforming rebellion from a concept into a vibrant visual act. The director’s role goes beyond merely staging the text; they reframe it through visions that favor breaking the rules and dismantling the rigid structures that have constrained theatrical thought.
Accordingly, the aim of this research is centered on studying the concept of directorial treatment of rebellion in contemporary theatrical performances. This is done through the lens of psychological, social, and philosophical studies, and how to interact and harmonize among them in ways that align with intellectual and technological advancements. This is encapsulated in the central research question:
How have directorial treatments of rebellious themes been manifested in contemporary Iraqi theatre, by surpassing traditional directing styles and striving for modern intellectual and aesthetic formulations that reflect the transformations of contemporary reality?
The scope of the research is limited to studying rebellion as an intellectual and aesthetic direction, by focusing on directorial approaches that go beyond traditional methods and offer new visions that mirror social, political, and cultural changes. The study analyzes directing elements such as the director’s vision, stage imagery, actor movement, space, and audiovisual techniques as effective tools for portraying rebellion.
The research includes a methodological framework that defines the problem, its significance, and objectives, in addition to a theoretical framework comprising two sections:
• Section One: The essence of rebellion.
• Section Two: The directorial treatment of rebellion in contemporary theatre.
The analysis is based on theoretical indicators, and the play "Ya Rab" (O Lord) directed by Mustafa Sattar Al-Rikabi was selected as an applied case study.
The research concludes with several key findings, the most important of which are:
1. Theatre of the Absurd and the Irrational generates dramatic conflict that reveals intellectual and performative features open to multiple times and spaces.
The diversity of directing styles has added hidden symbolic dimensions in light of rebellious ideas

Contemporary theater has witnessed major transformations at the level of the performance industry as well as the mechanisms of work, so experimentation, innovation, and deviation from traditional patterns were the prominent feature in the experiences of most theater directors, which included all the elements included in the show, foremost of which is space. This led to the diversity of experiences as well as innovations, which expanded the mechanisms of work and changed their artistic and aesthetic requirements as a result of technical and artistic transformations, which in turn rebuilt the aesthetic and semantic relationship between The elements involved in the construction of the theatrical performance. Accordingly, this research delves into understanding and studying the mechanisms followed by directors in painting and shaping space in contemporary theater, as the researcher divided his research into four chapters, the first of which dealt with the research problem (the methodological framework), which he identified with the following question: (What are the mechanisms used by the contemporary theater director in formulating and shaping his theatrical space?As for the importance of the research, the researcher identified the directors and students of theater art as the most prominent beneficiaries, while the goal of the research is to identify the mechanisms of space formation in contemporary theater, and then the researcher set limits for the research and define the terms and define them procedurally. The second chapter (Theoretical Framework), which included two researches, dealt in the first (the specificity of space in contemporary theater) with the specific variables that drew the form of contemporary space, and the most important elements that constituted it, while in the second (The construction of space in contemporary theater) is the most important innovations of directors in space, and then he identified the most important indicators that resulted from the theoretical framework, most notably: space in the context of contemporary directing has a special characteristic of being flexible, open to all possibilities of work, as it is not determined by a specific place or time as much as it is related to the directorial vision. While the third chapter dealt with (research procedures), which included (the research community, the method of selecting the sample, the research methodology, the means of measurement, and the analysis of the sample, which was represented by the presentation of the days of madness and honey), while the fourth chapter (results and conclusions) included the most important results of the research, the most prominent of which were: (The director employed space as an effective semantic element, not just as an incubator work space for the dramatic act, but he also employed space to direct the project's paths in order to ensure the achievement of his aesthetic narratives.Then he reviewed the most important conclusions he reached, the most important of which are: (The transformation of space in contemporary theater from being a space to contain the act to an active semantic and aesthetic element that contributes to the production of meaning and pushes the recipient to a plurality of reading, which enhanced his expressive energy), and then the researcher reviewed the list of sources he used in his research.

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" Taboo" is a term whose historical roots go back to the origins of humanity since the earliest times. Historical anthropological studies have revealed the relationship between humans and "taboo," as two points of convergence between concepts that evolved with the evolution of human society. Taboos can change depending on natural, social, political, psychological, and even physical variables. Psychology shares this concept with political science, sociology, and anthropology. These sciences export their dominant concepts and influences on humans, given that humans live in the environment they are influenced by and are influenced by. These taboos later become value constants, inherited beliefs, or religious legislation through sacred texts that impose their sanctity on humans. The first chapter dealt with the research problem, which was represented by the following question (What are the directorial concerns of the Iraqi director in his treatment of the concept of taboo in his theatrical performances?), the importance of the research, the aim of the research, the limits of the research, and the definition of the terms included. As for the second chapter, the researcher divided it into two sections: The first section: The intellectual and functional references of the concept of taboo: The second section: The directorial concerns of taboo in international theatrical experiences: In the third chapter, the researcher dealt with the research community, the research methodology, and the analysis of the play (Oh God). The fourth chapter dealt with the most important results and conclusions, then recommendations and suggestions, then a review of sources and references

The Omani Encyclopaedia for Young People is one of the important projects recently launched by the Ministry of Culture, Sports, and Youth. It is an encyclopaedia that is distinguished in its design and presentation and in the amount of information it contains, especially since it is derived from the mother Omani Encyclopaedia. The encyclopaedia aims to develop the cultural and scientific level of young people in the Sultanate and abroad. In light of this, this study aimed to explore the artistic and aesthetic values included in the Omani Encyclopaedia for Young People, and to identify the mechanisms for digitizing the encyclopaedia in order to invest it cognitively through paid membership mechanisms, for example. To achieve the goal of this study, the descriptive approach was used towards the phenomenon under investigation, and the analysis method was applied to the materials and topics contained in the encyclopaedia, exploring the artistic and aesthetic values included in it, starting with discussing and analysing the mechanisms for digitizing the encyclopaedia in order to invest it cognitively.
The results showed that there are many artistic and aesthetic values that were taken into consideration when designing, implementing, and printing this encyclopaedia, and these values play a major role in promoting cognitive investment through digitization mechanisms and electronic interaction with the encyclopaedia's content and making it available over the Internet, as a knowledge product available through the Internet. This was supported by presenting one of the successful experiences of cognitive investment in the artistic field. This is the experience of the "Britannica Kids" encyclopaedia. The study recommended digitizing the cognitive and visual content of the encyclopaedia through interactive digital tools such as maps, video, and animated images, which would contribute to the spread of the encyclopaedia on the Internet, which would positively reflect on enhancing the educational and cultural process for the young generations

This study aims to explore the aesthetics of Iraqi folk heritage in the fashion designs of Hana Sadiq, with the objective of analyzing how traditional cultural elements can be integrated into contemporary design practices. The research adopted an analytical–experimental methodology, focusing on six selected models from Sadiq’s works, which were assessed across three main dimensions: the aesthetic dimension (colors, shapes, calligraphy, motifs), the folk heritage dimension (identity, cultural symbols, environment, civilization), and the technical execution dimension (hand embroidery, digital printing, fabrics, cuts). The findings revealed statistically significant differences among the designs, with models such as The Royal Tribal Abaya and The Baghdadi Style standing out for their ability to merge authenticity with innovation, while other models reflected subtler levels of heritage expression. Based on these results, the study recommends integrating folk heritage more widely into fashion education curricula, encouraging designers to combine traditional craftsmanship with modern technology, supporting cultural institutions to promote heritage-based fashion globally, and conducting comparative studies with international designers to enhance cross-cultural dialogue