Zamkamiya in realistic plays Dhi Qar A reading in the works of Muhammad AL-Husseinawi

The aim of the research is to analyze a collection of musical texts by the writer Muhammad Al-Husainawi, relying on the term ‘Spatiotemporal’ as a procedural tool; this operative term is capable of empowering the critic to learn the secrets of the theatrical text and delve into its structure up to the literary intent of the target, creatively delivering them to the audience first and to the public as a whole. In addition, the research aims to look at the terms of time and space away from the detailed approaches, where attention was directed to determine the dimensions of the place separated from the extensions of time. Determining the time of the play away from its spatial space is a matter that carries a lot of critical risk in dismembering the work of art, for it is not possible to reach the essence of theatrical work and understand just through the overall view which constitutes the work. Additionally, the research aims to show the effects of time and space in the kinetics of the theatrical performance in terms of time duration, spatial extension and their reflection on the internal structure of the characters while monitoring the playwright’s ability to control the temporality of the portrayal in proportion to the events. The research followed the descriptive-analytical approach, where it was defined in two directions: The first is based on a theoretical framing of opinions and critical trends of the term ‘Spatiotemporal’. The second is to test the influence of the relationship of time and space in building the fabric of a theatrical spatiotemporal structure that leads to an understanding of the intent of the theatrical text through the organic, systemic and dialectical unity that is achieved when time and space overlap or overlap in a theatrical textual space. The results of the research showed that transforming the theatrical space into a transverse ‘spatiotemporal’ conveys visions and intentions and delivers the message to the audience when the place, thanks to organized creativity, is transformed into a visually perceptible ‘spatiotemporal’ that is displayed on the stage through semantic indicators that lead to the ability to draw the features of literary time in the same way that the spatial dimension is drawn. It has also been shown that reaching clarity in temporal and spatial features at its peak occurs when the two dimensions of time and space are merged into one dimension called La dimension temporelle du Chronotope in which the abstract time merges in the tangible space in a way that is difficult to separate them, as the times of love, war, migration and journey merged in Husseinawi’s plays. In those plays, Al-Husseinawi was able to achieve the dramatic structure, which is the structure of the theatrical work or the dramatic text, where the components of the play came in consistent structures through structural elements arranged in a special arrangement and according to special rules that express the writer’s pain and pain from the feelings and emotions within or simulation of reality by the means of artistic construction, for what happened in his country, Iraq, left a clear impact on his soul. As evidence for the previous statement are those plays that are covered with the bitterness of human pain, such as the Al-Raseef – Al-Maqbara – but the greatest impact on Al-Husseinawi’s soul was what happened to the people of Iraq in terms of pain, displacement, hunger and diaspora across borders, so it is possible to say that Al-Husseinawi has succeeded in expressing his vision towards the world.