The ability of musical discourse to express the nature of the general psychological composition of Ta’ziyya Theater performances

Abstract

Musical discourse in Ta'ziyya Theater performances has a strong ability to express the general psychological composition of events and characters. Music in this context goes beyond being just a complementary element, as it is used centrally to convey deep feelings of sadness, loss, and pain, and reflects the psychological transformations of the characters. Through various melodies and rhythms, the music contributes to embodying the characters’ feelings and enhances the psychological impact on the audience, and moving between sad sounds The cheerful theme contributes to representing the internal and spiritual conflict that individuals suffer from in the play, which helps enhance the emotional interaction with the show.

The problem of the research lies in the fact that the theater of condolences is considered one of the religious theatrical patterns that express the psychological implications associated with the memory of the collective consciousness. In order for the musical discourse to confirm its ability to establish a correlational relationship with all the temporal and spatial signs and the general psychological atmosphere, it must work To clarify the meanings of pain and misery in this type of tragic drama, the most important results were that the musical discourse was able to express the characters’ pain and sadness in a dramatic tonal way that was psychologically manifested in the memory of each character’s emotional feeling. The musical discourse, as a psychological sign, was able to express the emotion of the dramatic characters struggling with their fate. In addition, this discourse embodied the great human laws that call for resistance to the psychological conditions in which the characters live.