Interact and receive the discourse ontology at the audience in the Iraqi theater

Abstract

         In their study (Interaction and receiving the ontology of theatrical discourse) among the audience in the Iraqi theater, the researchers discuss the two processes, the first of which is the interaction between a language that results from the physical elements that make up the ontological composition of the theatrical discourse, and the second is the reception of this formation to the audience of the theater and the mechanisms of forming mental construction ( Mental existence) and what is the formation of theatrical work leading to the adoption of the meaning resulting from the interpretative process in which the external presence of the theatrical show has an important role in it, that is, the work with its direct existence is imposed on the receiving audience through aesthetic images and artistic construction of Display mechanism received, thus ontological configuration checks for a speech in the offer through this aesthetic equation where the first party to work outside his presence in the reverse mental existence and the second equation, which is the recipient Maheat supply and Ugodath in the mind of the recipient. Where the moment of interaction in the theatrical reception is an important moment in the context of the processes of producing the meaning of theatrical work in the mind of the theatrical audience, which is supposed to be ready and prepared for the act of watching and watching the theatrical show. Because both sides of the play game (the creator of the ontology of the theatrical discourse and the public) realize that the process of producing the meaning of the theatrical discourse remains incomplete construction in the mind of the recipient without the moment of direct interaction occurring, so each party has the task of preparing to play a specific role in the production of the meaning of the speech by Their interaction.