Theatrical movements affecting the renewal and modernization of Iraqi theater (Hanna Habash as a model)

Theater is a social phenomenon that fouSnd its first seeds in the arms of human society and grew and flourished within its scope. Therefore، we find the development of theater with the development of human society from which it derives its life and purpose. The theater is one of the arts of literature and an important element in highlighting an idea and conveying it to the recipient completely through building the elements of the play completely، in order to reach the desired goals behind the theatrical work. The current research included four chapters. The first chapter dealt with the research problem، which was represented by the following question: First: To reveal the Iraqi theatrical experiences that were affected by the European theatre. Second: Getting to know the European theater movements and their impact on the Iraqi theater. The first chapter also included the importance of research and benefiting from the term “state of mind” in the theatrical text in the educational impact on students of fine arts and graduate studies، as well as the artistic impact on Iraqi writers and directors for the period of the sixties and seventies، and the cultural impact on the theatrical artistic community of that period، as well as knowledge of the important and artistic elements that were affected On the Iraqi stage and what are the most prominent of those elements. And how can theater play an important role in promoting the values ​​of tolerance in societies that suffer from civil conflicts in a framework that combines recognition and aesthetics without slipping into ideological or anecdotal practices and the awareness of the backward، and in this context they present the experience of interactive theater with a directive tendency that appears through the involvement of the recipient in the theatrical performance، so that it interacts with it and merges with it. The second chapter also included the theoretical framework for the research، and it included several topics. The first topic included the impact of thought on the Iraqi theatrical text and on the originality and heritage in Iraqi society. The second topic is the philosophical transformations in the Iraqi theatrical text، including the tragedy in restoring the play of the legend، which represents the hero in the work، which adds to it a philosophical system، which is the conflict between the legend and the city world. As for the third chapter، the first topic included the renewal and contemporary movements carried out by the artist Hanna Habash and their impact on the European theatrical text on the Iraqi theater، and how the theater arose through Christian fathers. The second topic is the Iraqi theater movements that linked contemporary heritage through the influence of European theater، and deals with Iraqi fun and the heritage of contemporary Arab theater، and how the Arab artist finds himself intellectually close to the concept of politeness، historical vision and dialectical awareness of these concepts due to the social، economic and political conditions. The trends of contemporary Arab theater can be identified in: First: The heritage theater set a task in front of the Arab artist in discovering and defining the concepts and problems that serve his artistic ideas in order to address the problems of society. Second: Theatrical writing and presentation، where the director is considered the creator and creator of the laws of theatrical performance and awareness for the development of nature and society through his use of technical means. As for the fourth chapter، it includes the results and recommendations، the most important of which are: First: Dramatic writing depends on a set of elements and foundations، and the creator must follow them by composing a theatrical text that carries with it the features of real drama. Second: The Iraqi theater، in its dramatic aspect، depends largely on the realistic trend due to several considerations، including the fact that the theater in Iraq was born attached to the problems of life. Third: There are theatrical texts in Iraq that go other than the realistic direction and delve into classicism or romance. As for the recommendations: First: The theatrical artist must deal with heritage in a successful way to play it dramatic as an effective tool for change، construction، creativity، foundation، rehabilitation and imagination. Second: The need to objectively understand the heritage memory from the inside، and change it politically، socially and culturally. Third: The meeting between the viewer and the theatrical performance is the center of this drama، which sheds light on the audience.