Semiotics of Dramatic Space in Bahig Ismail’s Theatre The Play “Stry Cat” as a Model

the semiotic understanding of the dramatic space in Bahij Ismail's theatre belongs to analytical studies, relying on the semiotic approach to interpret the latent meanings of the dramatic text within its multiple spaces, whether interior or outer space. It aims to define the relationship between these spaces and the text, and their ability to generate meaning. The sample was represented by the play “Street Cat”, and the results concluded that:

1. Bahij uses the interior space to highlight the cat’s predicament and the outer space to represent the escape through a dream, emphasizing the relationship between the visible and invisible. This relationship allows the reader to generate new interpretations, unique to each individual.

2. The Author created a rich experience in “Street Cat” by skillfully employing linguistic, visual elements, and the semiotics of stage directions to explore dramatic spaces, sparking the reader’s imagination and inviting participation in meaning-making.

3. The dramatic space in the text is shaped by the author’s temporal and spatial directions. Bahij repeatedly uses limited spatial transitions (street, building, palace, television) to reflect a recurring social experience, where the human character remains the variable. The author constructs a dynamic dramatic space where time overlaps and spatial dimensions extend, mirroring the text's main theme and reflecting class struggles.

4. The multiplicity of reception aesthetics within the theatrical text is particularly evident in the final act through the "Egyptian Renaissance" statue. The outer space blends fantasy and reality, both the reader and director construct a creative vision.