Fnon Al-Rafidayn Journal

The current research aims to identify the impact of Keller's strategy for developing students' skill performance at the Institute of Fine Arts in the acting subject. The research problem identified the weakness of students' performance skills in acting. The research included fifth-year students from the Institute of Fine Arts who are studying the acting subject. The researcher adopted the experimental method. It adopted the preparation of training plans and adopted a research tool (skills performance form) designed by it and established its validity and consistency. After applying the strategy, appropriate statistical methods were used, and it was concluded that the strategy had a significant impact on developing skill performance in the subject of acting. Therefore, it was recommended that it be adopted.

Scenography، in all its forms، contains a large number of visual signs within the system of theatrical presentation directed at the child، in addition to the overlapping of the human senses that participate in its actual presence، due to the concepts، visions، and cultures that scenography includes، in addition to the aesthetic aspect، as the theatrical presentation presents through several signs and signs. Symbols loaded with direct and indirect connotations، through the elements of scenography of theatrical performance، and these elements' aesthetics create opportunities for interpretation and communication. Therefore،, scenography has a significant impact in showing the formal structure in the theatrical space directed to the child. Since children's theater is a work system، scenography exists within this system، and therefore, the research problem is determined through this question (Has scenography been achieved in children's theater performances، and the meanings and connotations it carries in the Iraqi theatrical performance، especially the research sample - the model - (Alice in Wonderland)) An aesthetic function in addition to its other psychological، semantic and dramatic functions? And what effect did it have on children's culture?).
The current research aims to identify the aesthetics of scenography in children's theater performances by reviewing the network of mutual relationships among the theatrical performance system. The researcher used the purposive method in selecting his research sample،, which numbered (1)، because the community consists of one play, and there is no other play this year consisting of the play (Alice in Wonderland) because it is the only show directed to children presented in Baghdad during the year 2013. Theatrical season The most important results of the research are:
1- Development and technology have a prominent impact on the development of scenography in children's theater performances.
2- Children's theater is an ancient art that aims to address children's culture.

The research was concerned with studying) The Ritual Narrative of the Body in the theatrical performances of Jan Fabre (Mount Olympus show " as a sample play ") contained four chapters. The first chapter (the methodological framework) dealt with the research problem, which was defined by the following question: What is the ritual? How did her practices shape the body's narrative and create the visual image of Jean Faber's theatrical performances? The importance of the research and the need for it came in that it sheds light on the concept of ritual as a cultural space that reveals the lifestyle and behaviour of societies to the extent of their ethnic, national, and religious differences and the extent of benefiting from it in the contemporary show industry. It attempts to reveal the aesthetic and performance principles in Jan Fabre theatre due to the intellectual depth and artistic brilliance of that director's proposals in the terrain of contemporary Belgian theatre, in addition to its theoretical aspect, which emerged as a result of extensive cognitive exercises and discoveries at the level of body and image—explaining the extent of cultural and performance polarization from the ritual concept in shaping his theatre's physical narrative structures. It was necessary to benefit researchers interested in performance, laboratories, and theatre workshops in fine arts institutes, colleges, and private theatre institutions. The research aims to identify the concept of ritual, reveal its formation structures, elements and forms, and relay its properties as a path for analysis through its works in creating the body text and the visual image for the performances of the Belgian director (Jean Faber), and then the temporal and spatial limits of the research that were set in the year (2018 AD). In (Belgium), he unified the topic of) The Ritual Narrative of the Body in the theatrical performances by Jan Fabre (Mount Olympus show " as a sample play "), and the chapter concluded by defining and defining terms.
The second chapter (theoretical framework) included two sections. The first dealt with (the ritual, the primary law of the body's organic performance) by studying the concept of the ritual, its properties, and its verbal, kinetic, and decorative elements, and examining the opinions of essential anthropological theorists whom the ritual was an active material in their intellectual blogs. As for the second, it dealt with studying (the artistic aspect). And the aesthetic in the theatre of Jan Fabre), and the chapter concludes with the indicators resulting from the theoretical framework.
The third chapter (the procedural framework) defined the research sample. The chapter also included the research methodology and the research tool. The chapter concludes with an analysis of the show (Mount Olympus) by director Jan Fabre, who chose it intentionally.
The fourth chapter discusses the results.

The research (Representations of Iconic Art in the Paintings of Contemporary Iraqi Artists) addresses the icon, which is primarily a religious work whose aesthetics align with the goals and objectives of Christianity. Therefore, the icon is characterized by its departure from materialism to express spirituality. The overall composition of the icon consists of a collection of religious figures, symbols, and writings that depict a religious story or a subject from the Bible, conveying it to the public in a simple language that every worshiper can understand. Iconic art has captivated many contemporary Iraqi artists, including artists from the beloved city of Mosul, where the artistic and creative representation of the icon is evident in their artworks.
The research is structured into four chapters. Chapter One presents the methodological framework, addressing the research problem, its significance, and the necessity for the study. It seeks to answer the question of how the icon is represented in the paintings of contemporary Iraqi artists, highlighting the historical, intellectual, and creative importance of these representations. The research focuses on the period from 1950 to 2018 in Iraq. Chapter Two delves into the theoretical framework, with one section discussing the emergence and development of iconic art (covering Byzantine and Coptic art) and another section focusing on the pioneers of iconic art during the Renaissance. Chapter Three outlines the research procedures, describing a community of 14 visual artists who incorporate iconic painting in their works across various Iraqi provinces. Two purposive samples of artworks were selected to cover most of the period. Finally, Chapter Four presents the research results, conclusions, and recommendations.

Symbols are considered one of the most important expressive means in ceramic works, as they are considered one of the means used by the Iraqi human (artist) from ancient times until the present time, where symbols have become one of the most important communication and understanding between the artist and the recipient, and that symbols were and still are an integral part of plastic artistic works in both public and private forms. The symbol represents all the ideas and connotations that it wants to convey to the recipient.
Each symbol has a different meaning from the other, as symbols, especially in the plastic arts, especially ceramic art, are based on the aesthetics of symbols, their connotations, and characteristics, which distinguish one work from another. Symbols in ceramic works are also considered to be significant, as some ceramics in themselves have become a symbol and contain contents. The meanings of some of them are hidden, meaning they are interpreted according to each recipient and his vision.
The symbols used by contemporary potters in Iraq have formal systems that differ depending on the artist’s experience and his artistic and cultural harvest, as well as the connotations that the symbols indicate, some of which are intentional, and others are unintentional.

The director's role in his training directions depends on creating technical compatibility between the actor's movement and vocal performance. Working considering Brecht's standards for acting training requires focusing on the methods that seek to bring the theatrical performance to perfection. The research has been exposed to Brecht's directions through its establishment of theoretical framework topics, which in the first section, I dealt with the intellectual qualification of the vocal-motor harmony technique in Brechtian prosody. In the second section, I dealt with Brechtian guidance for vocal-kinetic composition in theatrical performance, through reading the play The Caucasian Chalk Circle, in which the director focused on the compatibility between sound and movement in the actor’s performance.

The research seeks to expose fabricated media content on social media sites by reading and determining its impact on shaping societal awareness, noting that the means of communication had the primary role that highlighted the work and mechanism of operation and the negative repercussions it has on the recipient, who finds it difficult to differentiate between the work of the media system. In its correct professional form, it is the one that transmits or analyzes the news. It has become known to most specialists in the field of media, politics and economics that most of the wars taking place now depend on this procedure in their work, which makes the confrontation with that news more severe than wars between armies, as the media has the most significant role and influence. It is more potent in society because of the news it transmits. It is worth noting that search engines on the Internet and social networking sites carry a lot of content exploited to promote false and fabricated news that would confuse civil life in society. The research has shed light on the impact of The creation of fabricated media content on societal awareness through the theoretical framework topics that established the simulation of societal awareness and the manufacture of fabricated content in the first section and the reduction of paradoxical societal awareness in the second section, which was subjected to fabrication of the opposite effect, the language of knowledge in constructing fabricated media content.

The new in art does not sprout suddenly without influences, roots, or introductions. Since their introduction, even the arts have structures upon which they are based in formulating their works since man, since ancient times, was born imitating nature and what is in it with what he believes is helpful in his struggle for survival. It was accompanied by nostalgia in later times, especially within modern and contemporary art trends, with a cultural pattern resulting from acculturation processes. Therefore, this research is concerned with studying nostalgia and its application in contemporary American painting, which falls into four chapters. The first chapter presented the research problem, which is defined by the question: Is nostalgia in contemporary American painting? How is it achieved in the American formation of artists? The importance of the research and its need came in terms of shedding light on the essential contemporary artistic trends that followed that concept at the technical and formative levels and to benefit primary and postgraduate students in explaining the importance of nostalgia in creative work. The study aims to: (define nostalgia in contemporary American painting). The research was limited to studying the products of contemporary painting in the United States of America within the specified period between (1990-2005). The theoretical framework included previous studies, which contained two sections: the first dealt with nostalgia, and the second dealt with the constructivism of form in American painting (postmodern artistic trends). The third chapter deals with the research procedures that include defining the research community, selecting the research sample of (3) as a formative work, and describing and analyzing the sample. The fourth included the research results and conclusions, as well as recommendations and proposals

This research is concerned with studying the aesthetics of kinetic structure in contemporary digital art. It includes four chapters. The first chapter is devoted to stating the research problem, its importance and need for it, its goal, its limits, and defining the most important terms included in it.
The research problem addressed the topic of the aesthetics of kinetic structure in contemporary digital art, specifically those that have a direct relationship to artistic movements and trends of postmodernism and technological development and the creation of contemporary design techniques and methods. From here, question marks arose related to the research question, which is:- What is the aesthetics of kinetic structure in contemporary digital art? The importance of the current research lies in the fact that it sheds light on the role of technology in the production of contemporary arts, including digital art, due to its wide presence today and the space it occupies in which it combines talent and technology. It also creates a kind of blending between artistic and scientific creativity, especially if it is accompanied by some aesthetic effects that increase the visual and aesthetic response of the recipient, such as kinetic effects that play a prominent role in the structure of the artwork. The need for current research is evident in the fact that it benefits researchers and specialists in the field of arts in general and digital art in particular, and it also provides local libraries with a modest scientific effort. The research aims to identify the aesthetics of the kinetic structure in contemporary digital art. The research limits include three aspects: (a) objectivity, which was represented by studying the aesthetics of the kinetic structure in contemporary digital art implemented by computers using multiple programs specialized in drawing and coloring; (b) temporal (2020-2024); and (c) spatial (Europe).
As for the second chapter, which is the theoretical framework, it contained two sections. The first section dealt with the structure of movement in the artwork, while the second section dealt with the concept of digital art and its techniques. The theoretical framework ended with a set of indicators. The third chapter dealt with the research procedures. The fourth chapter dealt with the research results, conclusions, recommendations, and proposals.

Metaphor is one of the literary arts, as it began when Greece in philosophy and then moved to language, and metaphor moved to the theater through the body of the actor and employed semantically in line with the requirements of the directorial vision in building the theatrical presentation, according to physical transformations of the actor's performance to achieve visual images for the recipient.
The research consisted of four chapters, and the first chapter included the problem of research, its importance and the need for it, so the problem of research was identified in answering the following question: What are the metaphorical transformations of physical performance? The aim of the research also included identifying the allegorical transformations of physical performance, while the limits of the research were limited to theatrical performances presented at the Faculty of Fine Arts and ended the chapter by defining the terms and defining them procedurally.
The second chapter included the theoretical framework, which contained two sections, the first dealt with the concept of metaphor and its types, and the second studied the transformations of metaphor for the body in the theater, concluding the theoretical framework with indicators.
The third chapter (research procedures) dealt with the community, sample and research tool adopted by the researchers in the analysis of the research sample, while the fourth chapter included the results and conclusions and ends with the list of sources.

This research deals with the artistic works of sculpture of doll shapes and their representation in modern African sculpture and their relationship to social life at that time. It describes African sculpture as a means of communicating ideas and beliefs, and of adapting meanings and symbols related to both technical and spiritual work, influenced by the spatiotemporal environment of those works.
The research is structured into four chapters. The first chapter addresses the research problem, culminating in the question: "What are the shapes of dolls represented in African sculpture?" It emphasizes the research's importance and objective, which is to identify these representations, and includes research limitations and definitions of key terms. The second chapter is divided into two sections: the first discusses ancient social ritual practices, and the second explores factors influencing modern African sculpture, ending with theoretical framework indicators and previous studies. The third chapter details the research community and a sample of three models, intentionally selected to achieve the research objective through a descriptive analytical method based on theoretical framework indicators. The fourth chapter presents the most significant results, conclusions, proposals, and recommendations, and concludes with sources, references, and footnotes.

The research focuses on formal composition in contemporary Iraqi painting, using Mohammed Thanoun as a case study. It consists of four chapters: The first chapter covers the methodological framework, addressing the research problem with the question: "What is the formal composition in contemporary Iraqi painting (Mohammed Thanoun as an example)?" The aim is to identify the formal composition in contemporary Iraqi painting, specifically Mohammed Thanoun's work from 2020 to 2022. This chapter also defines key terms. The second chapter is divided into three sections: the first discusses the concept of composition, the second explores composition in contemporary Iraqi painting, and the third examines Mohammed Thanoun, from his biography to his artistic essence, including indicators from the theoretical framework. The third chapter outlines the research procedures, detailing a community of over ten paintings and analyzing a sample of three works. The fourth chapter reviews the research results and conclusions, highlighting that social, economic, and geographical conditions significantly influenced Mohammed Thanoun's art, reflecting beauty, sadness, and joy. The psychological dimension is identified as closely linked to the artistic text, fostering spiritual communication. The research concludes with a set of recommendations and a section on sources and references.

This research concerned with studying (characteristics of the model and guidance for the miniature in Islamic art) and includes four chapters, the first chapter of which is divided into the lesson frameworks for the research, through which the research problem, the goal of the research, its importance, the research, the need for it, its limits, and the most important interests that belong to it were presented.
The research problem emerged, the subject of the characteristics of guidance and guidance for miniatures in Islamic art, which was recognized as an answer to the following question: What are the characteristics of guidance and guidance in Islamic art?
As for the second chapter, which is the theoretical framework, it contained two sections. The first section dealt with (the concept of guidance conceptually and psychologically), and the second section included two axes, the first axis: the characteristics of Islamic art, and the second axis: the characteristics of guidance and guidance in the Islamic miniature), and the theoretical framework ended with a number of Indicators.
The third chapter was concerned with the research procedures, which included a research population of (30) individuals, and a research sample of (3). The research ended with sources and appendices.
1- Some artistic models expressed the search for an embodiment of the state of guidance and guidance. They intended to embody the state according to the story, where the artist intended to depict guidance, whether guidance through the events of the story with encouragement or intimidation, whether the events contain constants or punishment.
But later:
1- It was easy to guide and guide those who followed the Qur’anic narrative on the structure of the infrastructure and the modern atmosphere of the Islamic photographer to produce creative images, with the aim of enlightening minds, reviving hearts, refining souls, treating patients, and keeping away unwanted patients.

The Arabs have a rich tradition of arts rooted in human civilizations, with the storyteller being a notable figure among popular arts, drawing concepts from various stages of civilization. The storyteller is a significant cultural source in contemporary intellectual movements, conveying human issues, emotions, history, present experiences, and future aspirations. This role is pivotal in providing knowledge that supports society, contributing to the pedagogical and educational development of children and serving as a key element in aesthetic education.
The research comprises four chapters. The first chapter outlines the research problem, importance, and necessity, focusing on the question: "How were storytellers employed in children’s theater performances?" The objective is to identify the function of storytellers in these performances, specifically those presented at the College of Fine Arts, and includes defining key terms.
The second chapter provides the theoretical framework, divided into two sections: the first addresses the conceptual and functional aspects of storytellers, and the second examines their role in children’s theater, concluding with relevant indicators. The third chapter describes the research procedures, detailing the population, sample, and research tool used for analyzing the sample. The fourth chapter presents the results and conclusions, concluding with a list of sources.