ڕۆڵی شانۆی ئاهەنگسازی لە نمایشی شانۆی كوردیدا

Abstract

Theater is an ancient art and has an old history. The beginnings of its emergence date back to Greek times. This country is such that is called the homeland of theater. From the beginning of its emanation of this art, it started in a festive way and developed; it means that the festive theater has got a memorial history; and this movement has hadan effect on the Kurdish theatrical shows.

This research involves four chapters and some prefaces that clearly and overall emphasizes on what is the impact of festive theater on Kurdish theater? What is the reflection of the festive theater on Kurdish Theater? How has Kurd taken advantage of its culture, history and past and used them in this kind of theater? This means that this research gives the answers of the above questions; and it is also an attempt to introduce the world theater in general and Kurdish festive theater in particular. In the first chapter, the problem, importance, objectives, limitations and definition of the expressions have been presented. However, in the second chapter and the primary prefaces as an introduction definition, the theory of this theater i.e., the festive one has been discussed and the very personality of this theater demonstrated where scenography and heritage have played a great role in the festive theater. In this research, it has been referred to Kurdish festive theater, Moroccan Festive Theater experience and. In the third preface, the Salar Theater has been launched precisely. In the third chapter, alienation, the festive theater, The Day Where The Fish Became a Wolf, as an example. The final chapter, as any other scientific research, the subject of the research, discussion, conclusions, recommendations, resources list; all these to which referred. In general, this research is regarded as a preface for getting familiar and introducing of the world festive theater, and the role and reflection of Kurdish festive theater show. Moreover, it is to present the role of Kurdish festive theater as to developing the movement and the current of theater in Kurdistan. It also aims to analyzing Kurdish festive main materials, elements, and components with its different kinds. All in all, this research is the presentation of the aspect of the world festive theater and the role of this theater in the Kurdish theater demonstration.