The problem of intentional consciousness in the formation of meaning in the contemporary theatrical text

Abstract

Addressing the problem of awareness in the theatrical text is manifested through the cultural interaction that relates to the characteristics of the theater, and therefore this problem is considered one of the thorny concepts because it is based on the contemporary philosophical lesson to show through it the nature of the intentions that the theatrical text sees, and given the multiple connotations of the term (intentional awareness) and its overlap at times. And its contrast sometimes, it is one of the ingredients that contribute to directing the parties to the communicative process and controlling the general framework in which the various actors and meaning-forming elements move in the theatrical discourse, and contribute to establishing a continuous dynamic relationship between the linguistic elements and the non-linguistic elements, and in order to clearly define the impact of a standard Intentionality in directing theatrical discourse, we must investigate its types related to the poles of the communicative process (author, text, recipient), and identify their functions that contribute to revealing the criteria of awareness and monitoring transformations of intent in shaping meaning in the text. Intentional awareness - as a contemporary critical term - refers to the implicit and underlying meaning behind a text. It is the goal of the undeclared text producer who seeks to create his own world governed by a comprehensive vision related to the inside of the text to contribute to identifying the semantics and directing them in the proper manner, to gather the intentionality in this way. Between the contradictions, the inside and the outside, the awareness and the unconscious, and therefore we try in this research to highlight the path and implications of intentional awareness in directing theatrical discourse, as no one can deny that this concept has its features and foundations clear in modern studies, especially contemporary philosophical and critical studies in which the concept of intent was taken. Another dimension in the direction of awareness of receiving to reveal the nature of the meaning that is formed in the theatrical text.