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The research explores through its three parts, to search for the unconscious and the collective unconscious in order to identify the per-formative stimuli and motives and their motivation to produce a performance that is consistent with the metaphysics of the myth or the epic and its different characters from other human characters. The paper also explores in its second section a sort of sacred performance energy. Together, along with motivating the mind and engaging the subconscious, comes a metaphysical text and with its characters and epic events.

That researchers in the play Science Find a theatrical form of an experimental creative, and these experiences taken from the innovation space aesthetic dialogue with the receiver, especially since with previous theatrical experience and is an extension of her, because the interactive theater theatrical terms that assume a pattern do from the depth of the relationship between supply playwright and the audience, which alters the receiving skills actually change, and to monitor these differing divided into three classes that include research, methodological framework (Chapter I) and includes, research problem, the importance of research and the need to him, the goal of the research, the limits Find it border, and the theoretical framework

objective: To evaluate the influence of monolithic zirconia brand, thickness, and substrate color on color matching accuracy when optically coupled to abutment substrates. Methods: A total of 180 samples of two brands of monolithic zirconia [Prettau Anterior (PA), Ceramill Zolid FX Multicolor (CZ)] were prepared in three different thicknesses (0.8 mm, 1.5 mm, and 2 mm) with a standardized 10 mm diameter. Color properties of the samples were assessed using spectrophotometry at baseline and after coupling to three substrate types: standard dentin, discolored dentin, and titanium. Color differences (ΔE) were calculated and statistically analyzed by 3-way ANOVA and pairwise comparison ( α=0.05). Results: The brand and material thickness, at

WA Shukur, FA Abdullatif, Ibn Al-Haitham Journal For Pure and Applied Sciences, 2011 With wide spread of internet, and increase the price of information, steganography become very important to communication. Over many years used different types of digital cover to hide information as a cover channel, image from important digital cover used in steganography because widely use in internet without suspicious.

In this work a fragile watermarking scheme is presented. This scheme is applied to digital color images in spatial domain. The image is divided into blocks, and each block has its authentication mark embedded in it, we would be able to insure which parts of the image are authentic and which parts have been modified. This authentication carries out without need to exist the original image. The results show the quality of the watermarked image is remaining very good and the watermark survived some type of unintended modification such as familiar compression software like WINRAR and ZIP

Language is a vehicle for social values and ideologies that a man intends or attempts to express. Dramatic texts are one of the discursive practices that embody values and ideologies. What is expressed in dramatic text is deliberate because it is meant to affect other’s values, trends and ideologies in one way or another. Such ideologies and values are not explicit. To bring them out requires putting language under scrutiny to unveil what is implied. The present study attempts to analyze a dramatic script entitled Advice to Iraqi Women by the British playwright Martin Crimp in an attempt to unveil the intended political ideologies underlying the text. The title reflects a political aspect embedded in the word “Iraqi” that

The peculiarity of the theater does not lie in its dramatic content because many literary genres and other artistic styles share with it in this content. The peculiarity of the theater lies in contemplating the drama through what is architectural, and this architectural axis is what distinguishes its character. It is a spatial poetry which is composed by the laws of physics and chemistry, (Weight, height, distance, rhythm, gravity, impulses and chemical excretions). i.e., what cannot be expressed in words. This is a game of space to exchange and organize energy and communicate in space by the living body, which contains the possibilities of the living drawing in space: in the time and place. This research deals with the importance of the

Der ägyptische christliche Schriftsteller und Dramaturg Alfred
Faradj wurde 1929 in El-Zaqazek/ Alexandria geboren. An der
philosophischen Fakultät der Universität Alexandria erhielt er 1949 den
B.A. Grad. Von 1949 bis 1950 arbeitete er als Lehrer und als
Theaterkritiker bei verschiedenen Zeitungen wie Akhir Sa’a, Ros El-
Yousef, El- Ghad und El-Djiel. 1952 erhielt er den Sultan-ElAwies-Preis
für Literatur. Die goldene Medaille für Künste und Literaturschaffen
bekam Faradj 1956 für seinen ersten Einakter Saut Missr’/ Die Stimme
Ägyptens. Dieses Stück wurde im Dezember 1956 am Nationaltheater in
Kairo aufgeführt und von Hamdy Ghaith inszeniert.

Theatrical performances began with the Greeks when the theatrical scenes and skeletal figures were encoded, where the large wall of the Alskina, which contains three doors, the middle of them with a high height, and the two sides took the natural size, where the middle door indicated a symbolism of the god or demigods, as we find the condensation of the symbol in the architecture of the theater, and the symbol was taken In the theatrical scene, the development semantically and aesthetically, and interpreting and interpreting the current day, where the laser light formed the symbolism of the contemporary virtual scene, and in order to identify the aesthetics of the symbol in the theatrical scene, the current research was evaluated into fo