Fnon Al-Rafidayn Journal

The modern era has witnessed significant scientific developments. It has achieved qualitative leaps at the technological and technical levels. The era was called the Machine Age. Necessarily, these developments cast a shadow on the social reality in all its details, especially the artistic ones. Theater took that aspect and formulated it as a creative style that imitates the directors of the era, represented by the futuristic movement. This movement was deeply concerned with technology and speed and celebrated speed and machines to a degree that paralleled and even exceeded its interest in human personalities. At the same time, Futurism contributed to the production of other innovative movements at the theory and applied practice level.
It is worth noting that the Surrealist movement emerged from the womb of futurism, which imitated the mechanics of theatrical preparation on the formal level of its fun. However, on the content level, it rejects those developments that futurism celebrated. From this standpoint it is a call for nostalgia. He rejected the machine age, which brought devastation and destruction.
Based on the fundamental difference in goal between what futurism conceals and what Surrealism calls for, it did not deny the possibilities of futurism mechanisms to reach its goal. It can be pointed out that the receptive space was an incubator for other movements, even if they were among the movements protesting the movement's ideology, as in surrealism, so that a different concept could be established in dealing with the show, which began to allow the intersection and fusion of styles. From here, the researcher found the possibility of studying surrealist thought's branches in the futurism incubator. The researcher also took the performance of the play "Rebuke" as a model for the study. To apply to it, he came up with two indicators of artistic interference at the theoretical level, which governed the sample in the analysis at the applied level and was explained in detail in the results and conclusions of the research.

Since its beginning, human life has witnessed several changes and contradictions, represented by unbridled psychological stresses and resulting sexual tendencies. Psychological disorders and sexual instincts are among those concepts rooted in the human psyche that can work and indicate the nature of the global theatrical text because of their close connection. The emotional aspects that permeate these tendencies and the performative and behavioral outcomes that emerge from them appear, to a large extent, like the theatrical text and the behaviors that are read and tangible simultaneously.
On this basis, many Western playwrights employed these disorders and instincts as a living nature and a tangible reality in human social life. They sought to include them in the theatrical texts they wrote that influenced the world stage with their indicators and actions. This is what pushed the researcher towards the possibility of research and investigation into the existence of psychological disorders and sexual instinct in the international theatrical text. He also took the play's presentation (Desire Under the Elm Tree) as a model for his study. Then, he applied the indicators from the theoretical framework to this model after making it a sample for research.

The aesthetic variable is based on the value of beauty achieved in the form of the actor’s theatrical performance and includes in its details several juxtapositions that constitute in their content a dramatic aspect that seeks to nourish the intellectual and emotional side of the spectator. In the open spaces, the actor relies on a set of theoretical and experimental principles through which he acquires his artistic knowledge. Through practical practices that lead him to discover the correct methods in performing his duties in the performance space, and in light of the above, the research was divided into four chapters, where the first chapter (methodological framework) included the research problem that revolved around the question: the aesthetic variable of the actor’s performance in the theater spaces. open? Then the importance of research and the need for it, then the goal of the research and its limits, then the definition of terms. As for the second chapter (theoretical framework), the two researchers discussed the first topic: aesthetics of performance in theatre, and the second topic: acting in the open theater space, then the indicators of the theoretical framework. As for the third chapter (Research procedures) included the research population, then the research tool, and the research methodology. The chapter ended with an analysis of the sample. The fourth chapter included the research results and conclusions, and the researchers concluded their research by listing the sources and references.

After digital technology created distance between family members living under one roof, the social relationship that used to unite parents, children, grandparents, and grandchildren has declined. Grandmothers no longer tell their grandchildren the stories of One Thousand and One Nights and the exciting adventures that used to gather the family, young and old, on cold winter nights. These stories aimed to instill educational and noble moral concepts in our personalities, such as belonging, patriotism, courage, self-confidence, loyalty, tolerance, and the rejection of conflicts and wrongful behaviors that only the wicked commit, such as resentment, hatred, lying, and harming neighbors.
With this social and familial decline, school theater—through scripts and performances—has played an important role in extracurricular activities, filling the void left by our grandmothers' stories. The art of theater has always had a pivotal and effective role in conveying educational values to children and adolescents. Theater (both script and performance) is more beloved by children and adolescents than traditional dry curricula, whether in text or performance.
Therefore, the researcher sought to address the first section of theater art, which is the (script), and to highlight the educational content in the script "The Land of the Moon." The researcher aimed to extract the most important educational values embedded by the playwright (Tariq Fadil) in his script. The research followed the usual structure in arts colleges, including methodological, theoretical, and practical chapters, concluding with the main findings. Among the most prominent findings was that "the writer aimed to foster a spirit of teamwork among adolescents within a single work team, encouraging self-reliance and self-confidence, and instilling values of love, cooperation, and patriotism."
The key conclusions drawn by the researcher were that "the writer aimed to develop the imagination of adolescents through a storytelling style similar to that of (grandmother’s) tales, closely resembling the narrative style of One Thousand and One Nights." The research concluded with recommendations, suggestions, and a list of sources.

The research included four chapters. The first chapter was intended to explain the problem of the research, its importance, the need for it, the goal of the research and its limits, and the most important terms contained in it. The research problem was defined by answering the following question: What is the aesthetic impact of the systematic form in the products of land art? The research also aims to identify the aesthetics of the systematic form in land art products. The second chapter was concerned with the theoretical framework, as it included two sections: the first section (the philosophical concept of form), and the second section (systematic form in post-modern arts) lands art as a model. The third section included the research procedures: the research community, the research sample, and the tool. Research, research methodology and analysis of the research sample. The fourth chapter includes the research results, conclusions, recommendations and proposals. Among the essential findings reached by the researcher are their formal overlap and systematic integration, which distinguishes land art products by dealing with primary materials to transcend the idea of the imagined image and reach reality. The researcher also reached several conclusions, including land art, a creative work that completes what nature could not achieve. Therefore, it is a practical activity created with the primary data on the earth.