The language of theatre is made by a number of physical tools and moral elements. So as the actors, costumes, lightings and accessories represent the physical aspects of the show, they also represent its moral aspect too. When they transform from plastic words in the space of the visual show to become signs carrying its indications that give the meaning through the link, overlap and arrangement of its movements so as to finally look like as wording in a sentence carries the meaning and represent the language of theatre speech.
The show usually sends the recipient continuous signs that go beyond the limits of expressions that are conveyed by these tools, and that cover the largest part of the meaning. So what is kept hidden or unannounced, which is called the (Untold Story) in literature, is known as a constant image that reaches to the recipient and all of a sudden it goes away and proceeds. Every attempt that the recipient tries to take would add one segment to the whole meaning structure that the show is drawing. Therefore, what is the frames and limits of the untold story in the language of theatre..? and what is its aesthetic dimensions..?
The researcher chooses "Insu Herostrat" as a sample to apply what is given in the theoretical chapter of the study. The most important results that the researcher has come up with are that the untold story in the language of theatre draws the attention of the recipient to the meaning of the dramatic conflict and its stylistic forms and aesthetic aspects, and so achieving the most significant springs of the aesthetic structure that are made by the datum of the untold story in the language of theatre.
لم تعد ظاهرة غسل الأموال ظاهرةً محلیة أو إقلیمیة، فكل دولة معرضة لهذه الظاهرة لانتأثیراتها تستهدف الإنسان أینما كان باستهدافها الأوضاع الاقتصادیة والمالیة والاجتماعیة وحتىالأخلاقیة، سواء على المستوى الوطني أم على المستوي الدولي، فضلاً عن استغلال الاندماج الحاصلفي أسواق المال الدولیة والتطور التقني في الأنظمة المالیة لنقل الأموال المراد غسلها وتحریكها إلى إيمكان في العالم، وهو ما
Talking about the importance of the imagination in sculptural works has a role in shaping the collective memory and moving it, whether it is an artistic, social, religious or historical imagination. Because it documents the cultural heritage of any country through the structural structure of the sculptural form, and its connotations and symbols, which are considered an effective aesthetic image in the crystallization of various intellectual concepts and contents.
Therefore, the study aimed to know the employment of the popular imagination in the artistic works of the sculptor (Muhammad Ghani Hikmat), as well as to reveal the artistic and aesthetic features of the folklore and its reflection on its artistic style. And the references
ABSTRACT
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Conflict resolution and conflict resolution
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Which affected the growth of some markets
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The search for the return of economic and cultural activity and the emigration of some others
Cultural exchange and trade, which in turn
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We took the problem that we are experiencing
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As well as tourism and tourism, as it depends on the abundance of visitors, tourists and residents in terms of needs and motivation
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