The Cinematic Presupposition and Its Ontological Transformations in Theatrical Performance

Abstract

This study explores the ontological transformations of the cinematic film when integrated into theatrical performance, where it shifts from a self-contained visual entity to a living and active component within the theatrical system of performance. The research highlights the issue of the "cinematic presupposition" as a cognitive and aesthetic structure that reshapes reality on the stage, influencing presence, temporality, narrative, and the relationship between the live body and the audience. The study further demonstrates how the meanings of cinematic images transition from deferred presence in film to immediate, embodied representation on stage, rendering the theatrical image an active element in constructing the scene and its meaning, transcending its traditional role as a mere technical medium. This provides a novel perspective for understanding multimedia performances within a profound ontological-philosophical framework. Building on these premises, the study is structured across four comprehensive chapters:

Chapter One presents the methodological framework, including the main research question: How is the cinematic presupposition realized through its ontological transformations within theatrical performance, transitioning from an independent medium to an interactive element contributing to the discourse and semantic dimensions of the performance? It also outlines the research significance, objectives, scope, and operational definitions of the key terms (presupposition and ontology) to support the study s aims.

Chapter Two constitutes the theoretical framework, encompassing two main sections: the first addresses cinematic presupposition and ontology as conceptual foundations of cinematic existence, and the second focuses on the ontological transformations of the cinematic presupposition within theatrical performance, deriving procedural analytic units to trace these transformations. Chapter Three details the research procedures, including the adopted methodology, research sample, and analysis units. The study sample is identified as the theatrical performance (Ya Rabb) (directed by Mustafa Star Al-Rukabi, 2016).

Chapter Four discusses the results derived from the sample analysis, presents the study s conclusions, and documents the list of sources and references.