{"id":37728,"date":"2024-09-22T06:59:35","date_gmt":"2024-09-22T06:59:35","guid":{"rendered":"https:\/\/uomosul.edu.iq\/en\/finearts\/?page_id=37728"},"modified":"2024-09-22T06:59:35","modified_gmt":"2024-09-22T06:59:35","slug":"published-articles-art-education","status":"publish","type":"page","link":"https:\/\/uomosul.edu.iq\/en\/finearts\/published-articles-art-education\/","title":{"rendered":"Published Articles \u2013 Art Education"},"content":{"rendered":"<ol>\n<li><a href=\"https:\/\/scholar.google.com\/citations?view_op=view_citation&amp;hl=ar&amp;user=A4W8lJMAAAAJ&amp;citation_for_view=A4W8lJMAAAAJ:IjCSPb-OGe4C\">The philosophy of physical and sensory communication in the dramatic show<\/a><\/li>\n<li><a href=\"https:\/\/scholar.google.com\/citations?view_op=view_citation&amp;hl=ar&amp;user=A4W8lJMAAAAJ&amp;citation_for_view=A4W8lJMAAAAJ:UeHWp8X0CEIC\">Psychological stimulation as a performance technique in monodrama performances<\/a><\/li>\n<li><a href=\"https:\/\/scholar.google.com\/citations?view_op=view_citation&amp;hl=ar&amp;user=A4W8lJMAAAAJ&amp;citation_for_view=A4W8lJMAAAAJ:2osOgNQ5qMEC\">A performance approach between Wagner\u2019s theory of rhythmic stimulation and Meyerchold\u2019s method of training the actor<\/a><\/li>\n<li><a href=\"https:\/\/scholar.google.com\/citations?view_op=view_citation&amp;hl=ar&amp;user=A4W8lJMAAAAJ&amp;citation_for_view=A4W8lJMAAAAJ:9yKSN-GCB0IC\">Body narratives in Indian contemporary theater<\/a><\/li>\n<li><a href=\"https:\/\/scholar.google.com\/citations?view_op=view_citation&amp;hl=ar&amp;user=A4W8lJMAAAAJ&amp;citation_for_view=A4W8lJMAAAAJ:u-x6o8ySG0sC\">Ritualistic Authenticity in Performances in the Theater of the Oppressed<\/a><\/li>\n<li><a href=\"https:\/\/scholar.google.com\/citations?view_op=view_citation&amp;hl=ar&amp;user=A4W8lJMAAAAJ&amp;citation_for_view=A4W8lJMAAAAJ:d1gkVwhDpl0C\">Mechanisms of Body Utilization in Theater of Cruelty and Biomechanical Techniques<\/a><\/li>\n<li><a href=\"https:\/\/scholar.google.com\/citations?view_op=view_citation&amp;hl=ar&amp;user=A4W8lJMAAAAJ&amp;citation_for_view=A4W8lJMAAAAJ:u5HHmVD_uO8C\">Characterization in the Theatrical Text<\/a><\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"<p>The philosophy of physical and sensory communication in the dramatic show Psychological stimulation as a performance technique in monodrama performances A performance approach between Wagner\u2019s theory of rhythmic stimulation and Meyerchold\u2019s method of training the actor Body narratives in Indian contemporary theater Ritualistic Authenticity in Performances in the Theater of the Oppressed Mechanisms of Body Utilization in Theater of Cruelty and Biomechanical Techniques Characterization in the Theatrical Text<\/p>\n","protected":false},"author":20,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-37728","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/pages\/37728","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/users\/20"}],"replies":[{"embeddable":true,"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/comments?post=37728"}],"version-history":[{"count":2,"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/pages\/37728\/revisions"}],"predecessor-version":[{"id":37774,"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/pages\/37728\/revisions\/37774"}],"wp:attachment":[{"href":"https:\/\/uomosul.edu.iq\/en\/finearts\/wp-json\/wp\/v2\/media?parent=37728"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}