• SaadiaNouri Mohammad,Iqbal Abdul-Jabbar Eifan, SuadNeamah Hussein


The necessity of renewal and access to new and innovative frameworks, through experimentation and the process towards a theater that is more enjoyable, convincing and influencing the recipients, and this method is accompanied by thinking, human issues, and the Iraqi theater director in his theatrical experience stems from the privacy of perceptions and deep cognitive work in theater and this knowledge made him approach his issues and diversified His subjects, monitoring and re-deconstructing his theatrical discourse, through his openness, the multiplicity of his readings, and the attempt to change forms of dealing with his new semantic systems, with which he wants manifestations and aspirations towards universality, and the research raises the following question: What are the perceptions of the director's memory of the concept of globalization?.

The first chapter deals with the theoretical framework, and in the second chapter, which includes two topics: the first is the conceptualization of globalization, and the second is the characteristics of the basic perceptions of the Iraqi director.And it yielded results, the most important of which was the start of the local as an Iraqi objectivity through mastery of it, and digital systems to a global issue (protest and demonstration) without barriers, and the most prominent conclusions came from a nological change. The traditional presentation style, the upgrading of the visual form movement, the graphic roaming, the creation of a theater performance space, and this development towards globalization may lead to bringing the Iraqi theater closer to the world's theaters.


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How to Cite

SaadiaNouri Mohammad,Iqbal Abdul-Jabbar Eifan, SuadNeamah Hussein. (2020). THE DIRECTOR’S MEMORY OF THE CONCEPT OFGLOBALISATION. PalArch’s Journal of Archaeology of Egypt / Egyptology, 17(9), 3236 - 3249. Retrieved from