The Aesthetics of Sound and Silence in Iraqi Theatrical Performance Study The Play “The Dead Is Dead” as a Case

This research aims to reveal the aesthetics of the duality of sound and silence in Iraqi theatrical performance as an effective communicative system that contributes to constructing the dramatic rhythm of theatrical action through the reciprocal interaction between the actor and the audience. In this process, silence becomes a dramatic discourse charged with meaning, while sound is embodied as a dramatic image within an integrated artistic aesthetic structure, enabling the audience to perceive the dimensions of the word and its expressive functions within the theatrical performance.

The study adopts a descriptive–analytical methodology and is structured into four chapters. Chapter One addresses the research problem, its significance, objectives, and limitations. The research problem is formulated around the following question: What are the aesthetics of sound and silence in Iraqi theatrical performance? The scope of the study is limited to theatrical performances presented on the stage of the National Theatre, and the chapter concludes with the operational definition of key terms.

Chapter Two presents the theoretical framework and consists of two sections. The first examines sound and silence from an aesthetic perspective, while the second explores their employment within the theatrical director’s vision. The chapter concludes with a set of theoretical indicators adopted in the applied analysis.

Chapter Three is devoted to the research procedures, including the identification of the research population, sample, and the analytical tool employed in examining the selected sample. Chapter Four presents the findings, discusses the results, draws conclusions, and provides the list of references..