Children's Theater from text to performance An applied study in writing and directing techniques The play "The Goblin Hunter" is an exampl

The research examines the theatrical text elements, which is well-thought-out as one of the important forms of intellectual creativity, wherein various elements combine into a single whole, based on the principle of organic unity. As it takes interest in the elements of text harmony which are: the theme, or subject, and the idea that the author wants to convey to the theatrical performance audience, this idea should be conceded by dramatic characters whose wills struggle to emphasize the idea and win for its statement in the end.
Expressing the ideas obliges the play characters to conversate in a language based on a linguistic dictionary. It takes account of appropriate vocabulary due to the environment of each character, and this vocabulary changes with the authority changes of each character, and vocabulary changes with the change of the characters' goals, and theatrical dialogue that takes place among the characters must be based on conciseness, as sentences or dialogue phrases that do not allow for the dialogue to perform its function and push the text events forward to emphasize the presentation of the ideas should be omitted. The theatrical text is completed by successive events that constitute the text plot and is formulated in an artistic form to represent the dramatic structure that is cared for the way events are arranged within the plot in dramatic lines form.
Techniques choices are selected to transform the text ideas into the stage, as the director, at the planning level, seeks to present a very large group of ideas and turns them into dramatic actions that can be presented on stage at the executive performance. These dramatic actions are specific that the director chooses from among a possible larger group of actions, and it is known that the director believes in the ideas, then he seeks its expression by employing the performance elements. And here the director will have to take one of two paths: Either start from the content or form. Starting from the content ensures the idea preservation that the director wants to transmit to the recipient through his performance, so he seeks to use the form to serve this content, and here the form elements will be determined according to what serves this particular content. Thus ensuring the process of conveying the performance ideas, which may take place in rigid templates that elevate the content value at the expense of form. As for starting from the form, although it helps the director to achieve an extraordinary visual vision and state of unique rhythm; however, the director's insufficient awareness can turn the theatrical performance into a hollow formal framework that does not serve the ideas the director seeks to highlight through the performance.
Selecting one of the two paths depends on many criteria, the most important of which are: the idea's nature, its flexibility in adapting to different templates and artistic forms, secondly, the amount of awareness and cumulative experience that the director possesses because this experience and awareness are what enable the director to introduce different formal elements to achieve diversity and good rhythm in the image that are inevitably employed without these formal elements, they appear as if they were interjected into the performance, accordingly they are representing a burden on the ideas that were presented by the performance.