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The Mechanism in Theater Communication.

Updated: Apr 17, 2021

Initially, due to the Corona pandemic, many activities and artistic works that require a direct meeting with the public have stopped, including theater halls, which have been closed for long periods, and which I believe that this long closure will change the behavior of the audience, and their habits, as for hundreds of years they used to go to the theater halls, and then Transformed into cinemas, and thus into large halls such as concert halls for large audiences.

And she was the accepted tradition is to book these concerts, to set dates in advance for the parties, and to extend their periods for many months, and I am glad to find a special place to attend the shows closely.


The monologue here has become the savior, and the alternative to the stage, and the phone camera or the digital camera has become the eye that monitors the actor's breath and movements.

Today, most halls are empty of their thrones, enveloped in darkness, and loneliness due to the absence of the masses' breathing from their air, and for this I think that the next transformation is the direction of artists to different means to continue communicating with the audience who follow their work, but the problem has become more complicated because it has transformed collective action (theatrical action). To an individual act, the actor turned to the monologue that was the cause of the birth of the theater.

The monologue here has become the savior, and the alternative to the stage, and the phone camera or the digital camera has become the eye that monitors the actor's breath and movements, and what he wants to say to his audience in sections that increase or decrease in time according to the rhythm of the recipient, and if the creative capabilities are technically strong, he can follow the reactions of the recipients. Moment by moment until he takes the follow-up percentages for every second of the work that he estimated, or speculates about it in his work on stage, and instead of going

The viewer goes to the hall to follow the creator. Contemporary techniques have become a way to transfer artistic materials to his hand everywhere he is, where he can follow the work from his bed while he is lying, or he can follow him from the bus if he is traveling or from the train, or from the garden while he is strolling or wandering with his friend Or his girlfriend and he can devour food or drink also during his pursuit of work or he can receive messages from other applications also during the same time of follow-up work, and for this the reception mechanism previously recognized is no longer feasible, and suitable with all this technical development in social media, The biggest loss theater has lost is the celebration and attention to other elements of the show in the artists' works on social media

The concept of the work team has largely disappeared, and the work has tended to individualism and monotheism and has no desire to integrate additional elements into the work because social media encourages selfishness and individualism in more than one aspect of the technical one and the second is material and moral. Think for an integrated team, but rather dedicated to the creator only, and here we must rethink what the work team is, and how to revive it so that the creative process continues at its full level of creativity.


Today we are still in the middle of the storm (Corona pandemic) and we do not know the truth of the time period that


An anti-virus drug will be discovered, and thus the period of closing public places with a population of more than 100 people may be prolonged, so what are the means that we as innovators can invent with the means of communication to achieve the highest value of knowledge, technical and service to followers.

A question that I would all like to think about and together achieve the best results for our work.

By Abdul Hamid Khalifa


About the author:

A professor at the Higher Institute for Theatrical Arts in Damascus for twenty years, and the head of the Department of Theatrical Techniques, currently residing in Germany. He directed many theatrical performances for several parties, including the National Theater of the Directorate of Theaters, Music, and Child Theater. In addition, he directed to the ensemble of the Higher Institute for Theatrical Arts in Damascus. Also, he worked with Theatrical groups, including Ahwal theater troupe directed by the artist Zinati Qudsia and the writer Mamdouh Adwan. He specialized in theatrical techniques that he studied at the Higher Institute of Presentation Technologies in Avignon, France. His latest work was before Corona pandemic and it was the implementation of show lighting for a play. The play travelled around several countries like Japan, Australia and Chile, in addition to European countries. He also wrote many theatrical articles in the Theatrical Life magazine published in Damascus.


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