Aesthetic Treatment of Scenography for the Theatrical Script “Womenfolk (Al Walaya)” An Analytical Applied Study

Theatrical art is a mirror of society's problems and concerns. By its very nature, the theatre delves into the roots of human realities and expresses the culture of peoples. In fact, the theatrical production includes a set of interrelated elements that complement each other in a complex process aimed at achieving the message of the play and communicating it to the audience. This research examines the aesthetic elements of the theatrical show "Womenfolk", (2018), in which the researcher designed sets and costumes.

The play is inspired by a short story by the writer Youssef Idris entitled "Beit Min Lahem", a story that represents a stormy confrontation between religion and sex that has the character of a dramatic impact, a collision that occurs on the ground of a popular reality whose people do not have the curtains of hypocrisy due to poverty and modesty of the situation. This results in a lack of privacy and the openness of all doors and windows to each other.

The study deals with the basic elements that make up the visual treatment of the play, where it can be said that the theatrical treatment did not seek to diagnose reality as much as it seeks to provide a metaphorical image of it through the mechanisms of symbolic representation.

In the context of finding solutions to the elements of scenography that make up the play, the researcher followed the descriptive approach to study and analyze the script prepared for the theater. Through the applied approach and case study, solutions were found to the design problems of the theatrical production "Al-Walaya". The play deals with the phenomenon of (silence) or the unspoken of, and its intellectual and artistic connotations that reflect the state of moral fall of society. The researcher created a design treatment that expresses the content of the text and embodies the conflicts between the characters and the psychological atmosphere dominating the events, as the components of the theatrical presentation represent semiotic signs and icons, within a concept of design characterized by symbolic expression that tends to not adhere to literal reality.