Features of Sufism in the show of the contemporary Iraqi playwright (selected models)

Sufism is considered one of the important intellectual and cognitive fields that raised a number of questions in the academic fields and cultural circles, as it seeks to derive and reach the truth through the multiple ways that characterized it as a lived social phenomenon adopted by many social elites. Where the current research dealt with (features of Sufism in the Iraqi theatrical performance), which contains four chapters. The importance of the research was found by shedding light on Sufism and clarifying its features in the contemporary Iraqi theatrical performance and shedding light on religious ideas and discussing them in drama. Contemporary Iraqi theatrical performance, showing the manifestations of Sufism, its artistic and aesthetic features, and the mechanisms of its operation within the contemporary theatrical performance system, and then the temporal and spatial limits, where the temporal limit was from 2014 to 2018, and the spatial Iraq (Baghdad-Babylon) The objective limit is the study of the features of Sufism in Contemporary Iraqi theatrical performance, then the chapter concluded by defining linguistic and philosophical terms. After that, the researcher reached a procedural definition of the features of Sufism in theatrical performance as a set of features that characterized Sufism such as asceticism, spirituality, gratitude, Mevleian dances, Sufi paths, unity with the divine and how they are embodied at the level of discourse. Theatrical at the level of idea, dialogue, poetics and conflict, in addition to producing a tool characterized by abstraction as well In order to find its features at the level of the components of the show, such as music, rhythm, songs, dances and the various components of scenography. Where the second chapter (theoretical framework) dealt with three sections, where the first topic was on two axes, the first axis dealt with Sufism, revisions in the concept (initiation and establishment), while the second axis was the Sufi paths, the second topic was the features of Sufism in the creative arts (music, singing, architecture, Samaa dance). Mawlawiya and Sufi Poetry), the third topic dealt with the features of Sufism in the Arab and international theatrical discourse, where it ended with a set of indicators, the most important of which were Sufi texts prepared for theatrical directing sent aesthetic formations that formed a privacy in the manufacture of scenes and the formation of events by striking the unity of time and place through cosmic spaces cross-border. As for the third chapter, it is (the procedural framework) in which the researcher identified the research community, which consists of three theatrical performances as models for analyzing the sample, which were selected by the intentional method (selected models). Ali Abd al-Nabi al- Zaidi and director Mustafa al-Rikabi, the third show (Red Line) composed and directed by Abbas Rahak. As for the fourth chapter, it contained the results, the most important of which were the features of Sufism in theatrical performances, especially in the selection of religious topics extracted from history, such as the personality of the priest/ the prophet/ religious/ which It seeks to discover certainty and unity with the Divine Self in terms of honesty and faith. It also contains conclusions, the most important of which is that incarnation features mystical in Offers may be produce Fit aesthetic on me level Idea, dialogue, composition kinesthetic and visual for characters Than shares in Produce appearance my performance opposite. As well as recommendations necessity study features mystical in The theater and cinema when bear it. From Features aesthetic and spirituality to cleanse self humanity