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Definition of representation Art

Prof.Dr. Qabas Ibrahim / Department of Art Education – Faculty of Education
Definition of representation Art Aristotle mentioned in his book the art of poetry that art is a tradition of nature. The word (art) language means (adorn the thing) and the word (like) language means (become like him), so the art of representation is only a tradition of images, events and selected cases of life itself is put embodied on the stage by the actors and the surrounding scenery and clothing Tools and other things organized by the director. But the perfect tradition is not artistic if the addition of the artist does not come with him. Representation can be defined as the ability of a person to make things adorned or imitability, and accordingly the actor is the person within whom a stock of life impressions is formed. He feels the urgent need to show and reveal it to the audience by speech and movement. Acting is not just standing or moving on a raised platform, and the words of the role are spoken aloud, quivering, but a distinct existential state that raises in itself a set of complex duality that makes the actor’s art The most difficult theatrical topics Representation is the actor’s craft and his mission is to embody and interpret the simulated play personality through rhetorical, physical, and emotional expression. Representing an ancient profession, the first man participated in the religious ritual, expressing himself with gesture, dancing, and then by dramatic and dynamic dialogue. Thebes (500 BC) was the father of the Greek drama, because he was the first to add a representative to the choir and its leader, and then added Aeschylus. The second . Sophocles introduced the third actor, who increased the value of the dramatic event in performance and played down the importance of the choir. Theories, such as Koclan, who believes that acting is not a reincarnation but a diagnosis, and Stanislawsky who favors the reincarnation of the role of the actor, and Brecht, who calls for the actor to make a neutral narrator. The actor is the actor who plays the role of one of the characters of the drama presented on the stage or the screen of the cinema or on the television screen, and is also known as the person who plays a role in a drama, and is also known as an artist. His job is to play a role on the stage or in the cinema, acting as a fictional character. Konstantin Stanislawsky (1863-1938), a leading Russian director of realism in theater, stressed the importance of psychological realism in the performance of the actor, where the internal act drives the external act and the importance of reincarnation using the representative method in dealing with the actor. In addition to the text, the actor is considered responsible for the transfer of the author’s ideas through the text to the recipient, and committed to the realism of theatrical art and to consider the emotional sovereignty is the main focus of his work with his representatives, which forced to deal with the movement of the actor in accordance with the act of the internal actor His method of emphasizing the process of preparing the role begins from the inside out and thus the study of the movement as a reflex action resulting from the internal act is subjected to a psychological and realistic study related to the environment and society. Society, to reach the process of external matching and symmetry between the illusion presented on stage and life, and this is called the similarity of the psychological movement (icon) in the sense that the connotation is similar and identical with its meaning in reality, has been achieved this convergence through accurate knowledge In the use of theatrical supplies and tools of the director, where he (Stanislawsky) through his theses that the phenomenon of theatrical act and body shape is determined by the limits of significance according to the icon approach between them. The external body does not convey to the public a specific meaning unless it is formed in a signified sense, which is to say the constructive convergence between psychological and formal studies, since the content has (psychological) specifically, necessarily expressed in the motor and image alike, physical movement arises It is the psychological motive that the actor creates in himself that the physical movement is more sincere and closer to the reality he seeks. The physical act sought by (Stanislawsky) goes through small units, all of which are linked to the higher objective of the play, which must be clear and justified in full details and movements and signals and ideas that must Done Immerse with the main idea, and works to embody and communicate its philosophical meaning, therefore, the actor must train highly psychological and physical, in order to achieve a physical movement capable of bringing the recipient to the state of illusion so that they are identical to the biological and psychological structure of the personality that reaches them through personal travel and identification with them Changing his own features, changing his movements, behaviors, and his image makes his distinctive features so that we can talk about the formation or establishment of the new identity is the identity of the imaginary object called (personality), which is symbolized by its essence and shape through the movement of the body of the actor and his voice to resemble what Mo From the idea of ​​reality reflected on stage, he took from the body a function of an icon complementary to the act of dialogue to the sincerity of the passion driving him to give the performance to achieve the illusion of the recipient that what he is the reality Through the process of embodiment of the personality of the play (role) by employing the actor for his tools, his voice, his body, on stage, as the actor is a key element within the theater system on which (Stanislawsky)
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