The problem of employing international music in Iraqi theater shows (Juliet Baghdad as an example)

Abstract

The nature of employing music in theater is as a form of music with independence in artistic and aesthetic expression through its airspace, forms and elements such as melody, rhythm and idea, just as its aesthetic and philosophical role lies in embodying the dramatic position of the theatrical show, its interpretation and analysis, it is one of the basic elements constituting the specificity of the theatrical show, therefore It always links scenes and dramatic events with each other, as it represents "the main axis of the topic, as it tightens its elements to each other, interferes with the effectiveness of the event, and bears a good portion of the general atmosphere" () and therefore it must be the employment of music in the theater within the general atmosphere of To display, that is, it must relate to the aesthetic theme, idea and vision. Accordingly, employment must be more in line with the format of the presentation and its artistic, philosophical, aesthetic and even historical nature, because "the art of music is the most elaborate art in formality, which it sees evolve in time according to an internal logic that every artist must submit to (") and therefore it is able to express its value Aesthetic through its objective ideas, rhythms, melodies, ideas, aesthetic speeches and the level of their harmony and their interdependence with the image of the theatrical presentation, and this aesthetic interconnection between music and theater performance constitutes an aesthetic harmony if formulated in a woven and regular artistic way, it creates a kind of aesthetic composition and compatibility between The constituents of the theatrical show feel the moment they watch on stage.                         
However, some theatrical performances are problematic in employing music, and in the mechanism of choosing the type of music, its gender and its shape, and soon some directors go to choose pieces of international music that have nothing to do with the spirit of the show, its goals and artistic and aesthetic ideas, as they are launched according to the aesthetics of different ideas and goals, as they differ in The historical structure in which the music was written, and this dilemma weakens the value of the theatrical performance because it came on ill-considered and inaccurate considerations.