Sophrology as a Performative Technique in Shaping Theatrical Performance

There has been a growing interest in preparing the actor as a foundation for achieving effective communication with the audience. This has coincided with the emergence of various directing methodologies, such as Stanislavski’s approach emphasizing psychological exploration of roles, Meyerhold’s biomechanics, Grotowski’s focus on physical preparation, and Boal’s concept of the "Joker" actor, among others. These methodologies continue to evolve, aiming to prepare the actor both psychologically and physically through a set of exercises that enhance performance skills. Given the importance of actor training in line with global theatrical developments, and based on the researcher’s experience with sophrology in international workshops and practical engagement with a series of exercises tailored to contemporary theater, this study explores the significance of sophrology as a performative technique in shaping theatrical performance. Sophrology has become increasingly utilized in theatrical practices, particularly through its impact on the actor’s stage performance. This study is structured in four chapters. Chapter One (Methodological Framework) outlines the research problem, centered on the question: How is sophrology represented as a performative technique in shaping theatrical performance? It also highlights the significance and necessity of the research, particularly in introducing this lesser-known technique to Arab and Iraqi theatrical practice. The chapter concludes with definitions of key terms used in the title. Chapter Two (Theoretical Framework) includes two sections: the first discusses the technical and scientific foundations of sophrology, referencing views of philosophers, authors, and theater directors on its importance in theatrical work; the second examines the visual elements of theatrical performance, addressing the relationship between bodily presence and material components on stage, with references to directors such as Robert Wilson and Ariane Mnouchkine. The chapter ends with a summary of key theoretical indicators. Chapter Three (Research Procedures) presents the research sample—François Dausin’s performance Telling and Embodying Lived Stories—selected purposefully and analyzed