Semiotics of Musical Sign in Iraqi Pantomime Show (Ahriman) as a Model

The musical sign was associated with the first appearances of acting that are based on human gestures and expressive and silent movements, and they contributed in accentuating and clarifying these gestures and explain their meanings and indications, and they remained with them until these gestures...

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Main Authors: Ali Uday Sahib, Shymaa Hussain Taher
Format: Article
Language:Arabic
Published: College of Fine Arts / University of Baghdad 2021-03-01
Series:الاكاديمي
Subjects:
Online Access:https://jcofarts.uobaghdad.edu.iq/index.php/jcofarts/article/view/559
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spelling doaj-57bbd13ad4044e0f91a29e5bf11d803a2021-03-27T13:41:08ZaraCollege of Fine Arts / University of Baghdadالاكاديمي1819-52292523-20292021-03-019910.35560/jcofarts99/199-214Semiotics of Musical Sign in Iraqi Pantomime Show (Ahriman) as a ModelAli Uday Sahib0Shymaa Hussain Taher1Ministry of Youth and Sports/ Babel Youth and Sports DirectorateCollege of Fine Arts / University of Babylon The musical sign was associated with the first appearances of acting that are based on human gestures and expressive and silent movements, and they contributed in accentuating and clarifying these gestures and explain their meanings and indications, and they remained with them until these gestures turned into artistic theatrical shows so that the musical sign would have many functions and constitute the main pillars for this kind of show. The musical sign is a language not much different than the human language in the semiotic analysis. There has been an increased interest in it and its use in the mime shows by the graduates who realized its necessity and significance in the pantomime show intellectually, artistically and aesthetically. The first chapter included (the theoretical framework) which consists of the research problem represented by the following question: (Does the musical sign in the pantomime show have different indications and functions in other theatrical shows?). it also included the research importance in highlighting the musical sign, as the mime actor performance is a sign performance that excludes the verbal sign from the process of conveying the indication to the recipient. The research objective is limited to (semiotics of the musical sign in Iraqi pantomime show (Ahriman) as a model. This chapter consists of research limits (temporally determined by 2014) and spatially by the shows presented in Baghdad, Ali Deayym's show, and then defining the terms of the research and concluded with procedural definitions. The second chapter consisted of (the theoretical framework and the previous studies). The first section is (the concept of the theatrical sign). The second section addresses the musical sign and its performative features in the pantomime show. The second chapter concluded with the indicators that resulted from the theoretical framework. The third chapter is dedicated for (the research procedures) and the indicators that resulted from the theoretical framework as it is a tool for the analysis within an (analytical) descriptive method and watching the shows and photographs, so the show (Ahriman) directed by (Ali Deayym ) in (2014) in an intentional method for certain reasons justified by the researchers to keep pace with the sections and to achieve the study objectives and to resolve its problem. The fourth chapter ended with a number of results including: 1- The musical sign created the rhythm of the show. 2- The musical sign declares the dramatic transformation and transition. Then the research ends with an abstract. https://jcofarts.uobaghdad.edu.iq/index.php/jcofarts/article/view/559semiotic - sign - pantomime
collection DOAJ
language Arabic
format Article
sources DOAJ
author Ali Uday Sahib
Shymaa Hussain Taher
spellingShingle Ali Uday Sahib
Shymaa Hussain Taher
Semiotics of Musical Sign in Iraqi Pantomime Show (Ahriman) as a Model
الاكاديمي
semiotic - sign - pantomime
author_facet Ali Uday Sahib
Shymaa Hussain Taher
author_sort Ali Uday Sahib
title Semiotics of Musical Sign in Iraqi Pantomime Show (Ahriman) as a Model
title_short Semiotics of Musical Sign in Iraqi Pantomime Show (Ahriman) as a Model
title_full Semiotics of Musical Sign in Iraqi Pantomime Show (Ahriman) as a Model
title_fullStr Semiotics of Musical Sign in Iraqi Pantomime Show (Ahriman) as a Model
title_full_unstemmed Semiotics of Musical Sign in Iraqi Pantomime Show (Ahriman) as a Model
title_sort semiotics of musical sign in iraqi pantomime show (ahriman) as a model
publisher College of Fine Arts / University of Baghdad
series الاكاديمي
issn 1819-5229
2523-2029
publishDate 2021-03-01
description The musical sign was associated with the first appearances of acting that are based on human gestures and expressive and silent movements, and they contributed in accentuating and clarifying these gestures and explain their meanings and indications, and they remained with them until these gestures turned into artistic theatrical shows so that the musical sign would have many functions and constitute the main pillars for this kind of show. The musical sign is a language not much different than the human language in the semiotic analysis. There has been an increased interest in it and its use in the mime shows by the graduates who realized its necessity and significance in the pantomime show intellectually, artistically and aesthetically. The first chapter included (the theoretical framework) which consists of the research problem represented by the following question: (Does the musical sign in the pantomime show have different indications and functions in other theatrical shows?). it also included the research importance in highlighting the musical sign, as the mime actor performance is a sign performance that excludes the verbal sign from the process of conveying the indication to the recipient. The research objective is limited to (semiotics of the musical sign in Iraqi pantomime show (Ahriman) as a model. This chapter consists of research limits (temporally determined by 2014) and spatially by the shows presented in Baghdad, Ali Deayym's show, and then defining the terms of the research and concluded with procedural definitions. The second chapter consisted of (the theoretical framework and the previous studies). The first section is (the concept of the theatrical sign). The second section addresses the musical sign and its performative features in the pantomime show. The second chapter concluded with the indicators that resulted from the theoretical framework. The third chapter is dedicated for (the research procedures) and the indicators that resulted from the theoretical framework as it is a tool for the analysis within an (analytical) descriptive method and watching the shows and photographs, so the show (Ahriman) directed by (Ali Deayym ) in (2014) in an intentional method for certain reasons justified by the researchers to keep pace with the sections and to achieve the study objectives and to resolve its problem. The fourth chapter ended with a number of results including: 1- The musical sign created the rhythm of the show. 2- The musical sign declares the dramatic transformation and transition. Then the research ends with an abstract.
topic semiotic - sign - pantomime
url https://jcofarts.uobaghdad.edu.iq/index.php/jcofarts/article/view/559
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