The dialectic of the relationship between the actor and the audience in epic theater performances The play (Baghdadiya Circle of Love) as a model

The acting mechanism is a growing creativity in itself as the actor adapts his life and artistic culture and his cognitive perceptions and to benefit from those experiences in achieving the creation of an artistic personality belonging to the stage through his vocal، physical and intellectual artistic tools، this character interacts with the same actor and other theatrical characters thus the dialectical act grows upward Forward within the requirements for the relationship of the characters with each other، but in the epic theater this theory differs somewhat، as the recipient enters an active party in achieving the progress and progress of the play and in it a positive active participant is the opposite of what it was in the first stage Collapse in which it will be sedated absent without the participation، in order to become so that the actor takes methods and means in the theaterThe epic is different from what it was in the Aristotelian theater that gives the actor and the recipient the character of active participation in the show، so the research included two topics، the first is the concept of dialectic and in which the researcher addressed the most important views of philosophers on the concept of dialectic، and the second topic is the basic principles of the epic theater as the researcher touched on the most important features The attributes of this trend and how the actor deals with the audience in a way that stimulates him intellectually and cognitively. Therefore، the researcher has come out with a set of indicators، then the research procedures - the research community and its intended sample and analysis as it carries the characteristics of the epic theater، then the results and their discussion، conclusions، recommendations and rapper Data، and finally the list of sources.