Archaeology of the Actor's Body in the Iraqi Theatrical Show

The theatrical field operates on the intersection of adjacent structures with its space to produce a cognitive, aesthetic, and semantic discourse that aligns with society's social and cultural values. Since archaeology, as a cognitive system, works on reading historical achievements and their multiple discourses to reach the ideological truth of the mind, and since the body of the theatrical performer is considered a historical achievement that carries multiple readings through the properties of communication, interaction, symbols, and encoding, which are manifested in shaping their physical discourse and their social and cultural system. Archaeology has thus intersected with the physical data of the actor, which carries behaviours, motor systems, and actions performed by the theatrical performer. Therefore, the archaeology of the actor's body within the theatrical presentation is a cognitive formation and an evident framework for the accumulated relationships of the discourses series. The most important conclusions reached by the research are as follows: 1. Archaeology is represented in the body of the actor by shaping their semantic motor discourse through a combination of acquired social and cultural systems, drawing their actions, cognitive structure, and movement. 2. Identities have emerged as a fundamental element in the archaeological discourse of the actor's body, shaping its psychological and performative dimensions. 3. Archaeology has intersected with structures indicating the human's past, culture, language, heritage, space, patterns, and semantic discourse.