The Effectiveness of Theatrical Costume in the Performance of the Iraqi Monodrama Actor

Theatrical costume is one of the most important elements of theatre, upon which the actor relies in the process of embodying the character. Costume introduces the theatrical character and reveals its dimensions to the audience. In addition, it establishes the character’s transformations throughout the performance. Theatrical costumes are also rich in signs that convey multiple emotional, intellectual, and aesthetic meanings, thereby enhancing the actor’s performance structure.

Based on the foregoing, the researcher divided the study into four chapters. The first chapter represents the methodological framework and includes the research problem, which is centered on the following question: “To what extent is theatrical costume effective in the performance of the Iraqi monodramatic actor?” The significance of the research lies in highlighting the relationship between theatrical costume and the actor, as well as emphasizing the effects that costume can produce on the nature of acting performance. Furthermore, costume has the ability to create multiple signs and symbols that constitute a system rich in meanings and connotations within the monodramatic performance. The need for the research emerges from the possibility of benefiting from it by artists and researchers specializing in theatre, particularly in directing and acting.

The aim of the research is to identify the effectiveness of theatrical costume in the performance of the Iraqi monodramatic actor. The researcher concludes this chapter by defining the research boundaries and all the terms included in the title, including their operational definitions.

In the second chapter, the researcher established the theoretical framework through three sections. The first section is entitled “Costume as an Active Element in the Theatrical Performance,” the second “The Specificity of the Actor’s Performance in Monodramatic Theatre,” and the third “The Effectiveness of Theatrical Costume in the Performance of the Monodramatic Actor.” The chapter concludes with the indicators derived from the theoretical framework.