Variation in Directing Styles and the Integrative Structure of Contemporary Theatrical Performance

Abstract

It is useful to approach integration not from a conventional perspective، but as an evolving process characterized by continuous transformation، since integrative practice emerges from perspectives marked by variation and experimentation. This research is divided into four chapters. The first chapter addresses the research problem and its hypothesis، which raises the following question: To what extent does the problematic of variation generate multiplicity and continuous diversity through the power of difference as an entry point to integration، considering deconstruction a fundamental factor in the completeness and evolution of the theatrical performance، in pursuit of constructing a distinctive and integrated directing style? It also examines the limits of such an approach in contemporary Iraqi theatre in light of the concept of the open performance as a form subject to continuous transformation. The chapter further presents the significance and objective of the research and defines its key terms.

The second chapter comprises two sections. The first examines the philosophical concept of variation and integration، while the second addresses variation and integration in contemporary theatrical performance. The chapter concludes with the indicators derived from the theoretical framework.

The third chapter presents an analysis of the play Bayt Abu Abdullah (Abu Abdullah’s House)، which constitutes the research sample، followed by the findings and conclusions. The most significant of these are presented below. The research concludes with a list of sources and references.

Findings:

1. The director employed the deconstruction of theatrical elements in a performance structured around the body and the image within theatrical space. The actor functions as both a hybrid entity and a sign within the performance، narrating the story through movement and semiotic expression while engaging in a relationship of contrast with the scenography.
2. The director employed an integrated system in constructing an experimental performance that presents ideas as actions carrying dual meanings، thereby enriching the space of reception.

Conclusions:

1. The directing philosophy approached the integration of the theatrical performance through integration by means of deconstruction rather than unity، and through harmony based on multiplicity rather than centrality.