Mechanisms of Narrative Organization : From Formalism to Structuralism

Abstract

The theatre differed in its many philosophical, artistic, and social propositions. It was necessary to find propositions and curricula that would satisfy the needs of the theatre audience, what is going on in its depths, and the topics addressed by its society that feed into the structure of society and within a dramatic and aesthetic framework that satisfies its feelings and the internal torments and distresses it feels.

Hence, the need for a controversial philosophical theatrical framing through a process of challenge and experimentation to deliver a message that emanates from the stage within an aesthetic distance that the viewer receives through a convincing and exciting space that is used for the memory of the victim and what he embraces from what he went through and is going through according to the type of oppression that occurred to him, such as physical violence, rape, war, murder, and other inhuman means.

Trauma theatre has had this kind of cultural and aesthetic importance, and its mission is to reveal what happened during the genocide campaigns and reveal the memory of the victim within those campaigns, which means shocking the viewer to cause mental disorder as a result of its boldness and rigor by shedding light on a theatre that pours into the depths of the viewer so that he can feel the deep feelings. The introduction is on stage, and within a space for the process of purification and awareness as a result of fear, pity, and human cruelty that surrounds modern man. It approaches Aristotle in the process of purification, adding to it and departing somewhat to dissolve the process of awareness of what is happening, as noted by the English writer Sarah Kane, who is considered one of the pioneers of trauma theatre This study attempts to find a hypothesis to create a theatrical framework for the memory of the victim in the genocidal campaign that occurred to obliterate the national and cultural identity of the Kurds in Iraq during the Baathist rule in the 1980s, based on the experience of trauma theatre, and aims to try to stimulate the inner feeling of the recipient in communicating the awareness of the memory and what it stores. According to an aesthetic framework that is exciting to the sender and the addressee.