The Concept Of Time In Contemporary Iraqi Theatre Falah Shaker's Plays - A Model

Abstract

We cannot comprehend the concept of theatrical time without going over its various philosophical concepts of diversity.  The delicate sense of time grows and develops in the playwright, after time in the Greek imagination was a circular time following the circular motion of the planets.

        In the light of such concepts ” linguistics has re-established the issue of the category of time in a radical way in linguistic thought, temporality independent of grammatical times and within the framework of linguistic systems a distinction is made between a time in verbal morphology (the phenomenon of language) and another on the existential level. Time is depicted (an existential phenomenon) in  Relationship with the degree of clarification by means of linguistic and literary production at the time of discourse) ⁽¹⁾.

       If the cognitive field of the concept of time in linguistic knowledge returns us to the logical, grammatical time and the time of literary discourse, then ” the contemporary linguistic lesson based on the textual stylistic data of the literary discourse has made a break with the traditional inherited physical perception of time through the belief in time as a conductive element

It is based on the mechanism of memory and discourse for a textual structure as a poetic syntax) ⁽²⁾, and time occupied a large space in the field of dramatic construction and the styles and methods of writing text for contemporary theater.  The traditional, which calls for adherence to the unity of time to the point of sanctification, where time has become overlapping, hypothetical, retrospective or future.

       Thus, the researcher sought to study the concept of time in the theater by answering the following question: How did the contemporary Iraqi theater understand the concept of time and how did it deal with it?