Volume 12 - Issue 70
/ October 2023
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DOI: https://doi.org/10.34069/AI/2023.70.10.1
How to Cite:
Alshaie, F.S. (2023). The aesthetic function of the natural scenography in Hail City, Kingdom of Saudi Arabia: A regional and
global gateway to the arts and cinema. Amazonia Investiga, 12(70), 9-22. https://doi.org/10.34069/AI/2023.70.10.1
The aesthetic function of the natural scenography in Hail City,
Kingdom of Saudi Arabia: A regional and global gateway to the arts
and cinema
Received: September 5, 2023 Accepted: October 26, 2023
Written by:
Fouzi Salem Alshaie1
https://orcid.org/0000-0002-3792-5328
Abstract
This study aims to shed light on the artistic potential
of Hail City's natural scenery (KSA), including its
formal elements with expressive and symbolic
connotations that are unaltered by human
intervention. It attempts to highlight the
significance of scenography for the fields of theater,
film, light, and color shows. The framework of the
research is an analytical descriptive approach
through two axes: the first is an analysis of the
natural scenography in Hail city from an aesthetic
and functional standpoint. The second axe involves
polling a sample of (15) experts in the arts and film
to determine whether natural scenography serves an
artistic purpose in Hail city and to what extent it is
still relevant to the arts and film. One of the findings
of the study is that Hail city's mountainous scenery
offers distinctive and lovely natural scenography
that may be exploited for a variety of purposes. The
study recommends promoting Hail city 's natural
beauty through marketing and advertising to
highlight its aesthetic features and to profit from the
visual treasure the Kingdom of Saudi Arabia has to
offer in its charming landscape.
Keywords: Aesthetic Function, Natural
Scenography, Hail, Arts, Cinema.
Introduction
The interaction of human creativity with natural
landscapes has long been a major source of
inspiration in the arts and film. When the alluring
beauty of nature is skillfully combined with
creative expressions, it has the capacity to arouse
feelings, spark the imagination, and produce life-
changing experiences.
1
Assistant professor of Visual Arts and Dean of the College of Arts - University of Ha'il, Kingdom of Saudi Arabia.
WoS Researcher ID: JHV-0626-2023
Hail City, a cultural precious stone hidden in the
Kingdom of Saudi Arabia, exhibits an amazing
fusion of the arts and nature. This study examines
the aesthetic function of Hail City's natural
scenography and considers how it serves as a
regional and international entry point for the arts
and movies. Hail City is well-known for its
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amazing views, varied terrain, and alluring
natural treasures. Hail's natural scenery, which
ranges from the enormousness of the Nafud
Desert to the majestic mountains and lush
valleys, has an allure all its own that has
enthralled audiences, movie makers, and artists
alike. This research examines how these
landscapes have a significant aesthetic influence
on Hail's artistic and cinematic productions,
shedding light on the ways in which these
landscapes support the city's distinctive artistic
identity and international acclaim. Hail City's
rich visual arts scene serves as a gateway,
bringing the local artistic community in line with
worldwide trends and inspirations and presenting
Saudi Arabia's varied talents and experiences to
a global audience.
Attempts are made to shed light on the
tremendous aesthetic role that nature plays in
shaping the cultural landscape of Hail City by
examining the complex relationship between the
city's natural scenography and artistic
expressions. In order to shed light on the
transformative power of Hail's breathtaking
scenery in promoting artistic imagination,
cultural exchange, and establishing the city as a
regional and international the entry point to the
arts and cinema, this study will investigate
artistic works, films, artist interviews, and
audience reception analysis. The natural scenery
in Hail City serves an aesthetic purpose that goes
beyond simple aesthetic appeal to become an
essential component of the city's artistic fabric.
By interacting with the stunning scenery and
taking cues from the area's natural treasures,
filmmakers and artists produce immersive
experiences that profoundly connect with
viewers. The merging of nature and artistic
expression in Hail City continues to captivate,
inspire, and transcend cultural boundaries. This
is made possible by the city's dedication to
fostering the arts as well as its breathtaking
natural surroundings.
In short, this paper delves into the aesthetic
function of the natural scenography in Hail City,
exploring its role as both a regional and global
gateway to the arts and cinema. According to the
aforementioned, the potency, originality, and
distinctiveness of the visual and symbolic
connotations produced by nature itself are
essential to the success of nature scenography.
This study primarily focuses on this field since it
is widely believed that it is the responsibility of
visual arts researchers to unveil the aesthetic
functions of nature and its boundless potential.
Literature Review
Few works have examined various facets of
location and nature-themed scenography in
theatre and film. One study carried out by
Al-Jabas (2021) brought to light the low regard
for the open-air theatre in Minya City, Egypt,
because of its absence of a direct link to the most
important historical waterway in the city's past.
This negativity was due to design errors in its
construction, neglecting to build impressive
visuals for the performances amidst the
surrounding natural environment to embody
visual and sensory atmospheres. Joslin
McKinney (2008) examines how the audience
and the scenery communicate with each other. It
is the first instance of practice-based research
that looks at the specific role that the
stenographic plays and how audiences respond to
it.
Another study conducted by (Ahmed, 2020)
investigates the digital technology tools and
applications utilized in designing theatrical
scenery as a workable remedy to the issues with
design and the process of directing on stage as
the technological development in the modern era
has a great impact. Technology facilitates the use
of theatrical landscape design to provide a scenic
image that is in line with the demands of the
current historical period. The study concluded
that theatrical language has been rehabilitated.
Since the theatre shapes collective consciousness
by expressing its ideas and content, it seeks to use
digital technology as a tool of creative action to
create scenography by using computers and
contemporary programs to draw up a more
creative and expressive scenography. According
to a study by Masoud (2021), digital scenography
can go beyond the limitations of traditional static
theatre and all its traditional techniques. This
opens wide horizons for experimentation and
innovation in the technical form. The purpose of
this aspect is to engage the recipient in the
theatrical game text and presentation through his
participation in events, virtual reality, and
cyberspace. According to the study, to provide
the audience with dazzling and enjoyable
experiences, it is still needed to learn about the
Arab world's theatre-audience interaction culture
and modern digital theatre technologies.
Gibson (1979) covers a variety of subjects,
including how people perceive events, surfaces,
and objects, as well as how movement and action
affect perception. Gibson also addresses the
connection between perception and how one
perceives social affordances, time, and space.
John Urry’s book (2005) looks at a number of
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aspects of the tourist gaze, such as the importance
of visuality, how landscapes and attractions are
consumed, and how experiences are turned into
commodities. In addition, Urry examines the
connection between modernity and tourism,
highlighting the ways in which tourism is
influenced by larger social and economic
developments. Allen Carlson (2000) examines
the relationship between aesthetics and the
environment with a particular emphasis on
appreciating art, architecture, and nature. It
explores diverse viewpoints on our perceptions
of and values for the natural world, as well as the
philosophical underpinnings of environmental
aesthetics. The book offers insightful
information about the aesthetic value of natural
scenery and how important it is to improve our
awareness of and interaction with the
environment. Film theorist Vivian Sobchack
(1992) explores the embodied and subjective
experience of watching movies. She looks at how
interacting with cinematic images and stories
affects our perception, physical experiences, and
emotional reactions. In her work, Sobchack
highlights how the body, perception, and
emotions of the audience shape the cinematic
experience.
The previous studies have shown how important
it is for Arab nations to adopt scenography's
modern viewpoint in the arts, particularly in the
fields of place and nature-related art. To the
researcher's best knowledge, there is a scarcity of
studies that address this issue, as not a single
study dealing with natural scenography has been
recorded. There are various reasons for the
paucity of research on natural scenography: the
study of natural scenography may not have
gotten much attention from academics,
especially in places like Hail City. Academic
interest and research funding frequently place
different priorities on different fields of study,
and natural scenography may not have been the
main focus in the past. Thus, few if not at all
research on this particular subject may have been
done as a result. A wide range of academic fields
are included in natural scenography, including
environmental aesthetics, theater studies, film
studies, and landscape architecture. The subject's
interdisciplinary nature can occasionally make it
difficult to identify a particular research niche or
develop precise methodology for study. This
could explain why there aren't as many studies on
natural scenography as there are. Researching
natural scenography frequently calls for
cooperation with artists or filmmakers, access to
particular locations, and financial and material
resources. Restricted access may make it more
difficult to conduct research and lead to fewer
studies being done. Future studies on natural
scenography might surface as it becomes more
well-known and intriguing in the artistic and
cultural fields. There are fewer studies conducted
as a result of cultural norms, language obstacles,
or restricted research dissemination.
Nature in general is determined by place and
time, and the Kingdom of Saudi Arabia is
distinguished by a unique nature in many of its
regions. Hail city, the subject of this study, has a
mountainous landscape that is as old as recorded
history, combining the region's ancient past with
its natural beauty. This includes Hail City among
the areas of natural scenography that are very
special and distinguished and the role that has in
the tourism boom and the cultural and
entertainment movement. This study aims to
clarify this, making it distinct from prior studies
that concentrated on traditional scenography.
Thus, by defining the term and the field of natural
scenography in all its facets and providing a vivid
example from the geography of Hail city in the
Kingdom of Saudi Arabia, this study becomes
the first of its kind.
Methodology
The article's framework is an analytical
descriptive technique along two axes: first, it
analyzes Hail City's natural scenery from both an
aesthetic and practical perspective. The second
axis is surveying a sample of fifteen art and
cinema professionals to ascertain whether natural
scenography in Hail City fulfils an artistic
function and how much it still contributes to the
arts and movies.
A combination of literature review, data
collecting, visual analysis, case studies,
comparison analysis, and interpretation make up
the methodology used in this study. After the
interviews were recorded, important ideas and
themes about the aesthetic role of Hail City's
natural scenery were found. After being given
codes, these themes were categorized. To obtain
insights, the coded themes were analyzed by
looking at their frequencies, patterns, and
variations. Analyses were conducted on visual
materials, including pictures, paintings, and
movie stills that showed the natural scenery of
Hail City. Composition, color, lighting, and
symbolism were among the elements that were
evaluated according to certain standards. Finding
patterns, motifs, and distinctive representations
that support the aesthetic function was the main
goal of the analysis.
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The results were analyzed in light of historical,
cultural, and creative contexts. The selection of
case studies was predicated on their pertinence to
the research subject and their capacity to offer
discernments into the artistic role of organic
scenery. Information was gathered from sources
like critical reviews, production notes, and artist
statements. To find the similarities, variations,
and distinctive elements of the aesthetic function
among the case studies, a comparative analysis
was done. The results were combined to create a
thorough understanding. Using these methods,
the study sheds light on Hail City's regional and
international relevance as a gateway to the arts
and movies while also examining the special role
that the city's natural surroundings play in
supporting artistic and cinematic undertakings.
Determining the study's scope, research terms,
limitations and research objectives is the first
step in the methodology. With a particular focus
on the aesthetic role of Hail City's natural
scenery, the study intends to investigate how the
natural surroundings of the city support the
growth of art and film on a regional and
international level.
The study is to investigate how Hail City's
natural surroundings support the growth of art
and film on a regional and international
dimension, with a particular focus on the
aesthetic role of the city's natural scenery. The
study attempts to answer the following questions:
What are the aesthetic characteristics of the
natural scenography in Hail city in Saudi Arabia?
What are the possibilities of benefiting from the
natural scenography of Hail city in the field of
performances and cinema?
Research Objectives
1. Clarifying and rooting the term natural
scenography in the realm of visual arts in
Saudi society.
2. Identifying the aesthetic characteristics of
the natural scenography in the Hail region.
3. Extracting ways to benefit from the natural
scenography in the Hail region in the fields
of performing arts and cinema.
Limitations of Research Study
The following determines the study:
− Spatial boundaries: Hail region, Saudi
Arabia.
− Time limits: Data is collected during the
second half of the year 2022.
− Objective limits: The study is limited to the
natural scenography in the Hail region.
Search Terms
Scenography: (the Greeks) defined it as "the art
of decorating the stage and decorating the colours
that result from this technique." It is defined as
the art of shaping exhibition space and the scenic
image. It is an artistic creative activity that
assumes knowledge of drawing and architecture
(images, colours, shapes, and sizes), and the
techniques used in theatre, lighting, and sound
engineering (Shubar, 2014, p. 72).
Procedural scenography: It is all the creative
decorative arts, whether traditional or
technological, that accompany performances
related to the visual scene in theatre and cinema.
These intended and studied arts aim to show and
complete the desired message from the show
through (colours - effects - images - space
processing - accessories - and everything related
to the visual scene).
Procedural natural scenography: It is all the
creative decorative arts, whether traditional or
technological, that deal directly with nature, and
accompany shows related to the visual scene
related to place (such as natural visual theatre
shows, cinematic nature scenes, and
documentaries related to space and time).
Results and discussion
The results and discussion section are created.
For presenting each of the questions and their
respective results in this section. To answer the
question of the first study, which is what the
profitability of natural scenography in Hail is, the
following is required:
Examples of natural scenography in Hail:
Hail is characterized by nature that carries the
fragrant interpretations of history in addition to
its formal and visual distinction, which makes
this nature a fertile and distinct source of
inspiration and imagination for artists in general,
and those interested in the arts of performances
and cinema in particular. The study presents a
few examples that stand out due to their use of
time and space, which are crucial factors in both
the performing arts and cinema. For example, the
aesthetic side created by nature in the rocks of
these mountains creates unique views but, it
doesn't get enough attention. A model like this is
shaped by wind, rain, and water. These factors
give it an exceptional and distinctive aesthetic
shape, especially since the nature of the rocks in
this region is sandy and sedimentary, as it is
subjected to wind erosion with the sand it carries,
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in addition to the rain that gives its outer surface
an aesthetic and distinctive appearance. The
Great Sphinx Rock, shown in Figure 1, is in the
village of Aba al-Hiran, about 100 kilometres
south of Ha'il City, and was given this name
because of its resemblance to the Pharaonic
Sphinx sculpture. It also symbolizes the focus of
the Ha'il man's attention, who created numerous
stories and hypotheses about it.
Fig. 1. The rock of the Great Sphinx in the village of Aba al-Hiran.
Taken from a video posted on YouTube (Alekhbariya TV, 2020)
It bears the features of a face that reminds us of
the face of the Great Sphinx in terms of shape and
size, as well as posture, and what is meant here is
the sitting position that reflects prestige, strength,
and solemnity. This is a strange coincidence that
combines what is seen from nature, and what was
made by a person who belonged to one of the
largest ancient civilizations. As a result, this rock
structure can greatly influence imaginative and
surreal interpretations, especially if the show and
cinematic arts intervene in such natural
landscapes. This calls for more care, as it
contributes to enriching tourism and artistic
aspects in general and it is a unique field of
natural scenography. In the Sphinx (Egypt), the
scenography of sound and light shows was
implemented, and the same site was the place for
the performances, figure (2), to be a scenography
area for performances, cinema, and a field of
tourist attractions.
Fig. 2. Natural scenography at the site of the Sphinx
Source: (Photo by Al-Barbari (2023)
The Hail rocks have a wide variety of different
formations, sometimes including animal, or even
human-like characteristics. A rock structure that
was observed at Aga Park resembles a human
face or, more particularly, the head of a
prehistoric warrior wearing a helmet, as shown in
Figure (3). These faces send us to the world of
fantasy or also to the world of cinema, history,
and myths. How can natural factors mimic the
human face in more than one location, such as the
Sphinx, the ancient warriors and their distinctive
weapons, or strange creatures that may resemble
us but differ from us, as if they were aliens? The
shapes that nature provides without charge
capture our attention in foreign fantasy films, as
well as movies and cartoons, and Star Wars flicks
where we encounter odd creatures.
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Fig. 3. Rocky cavities with suggestive human faces or masks.
Location: Aja Mountains in the Emirate of Hail. Saudi Arabia (Own authorship)
In addition, the nature in Hail includes shapes
distinguished by their beauty and peculiarity,
which link them to some of the colors utilized in
contemporary and subsequent art. Although it is
a completely natural form in which no human
hand has been involved, The Hanging Rock,
which is also located in the village of Aba Al-
Hiran, can be categorized within the arts and
post-modernism. It alludes to visualizing a
variety of forms, just as it alludes to an
architecture that has a pleasing equilibrium
because it is uncomplicated in its surroundings
and avoids being the cause of that balance. Due
to the viewer's lack of understanding of the laws
of balance, it might have futuristic or space
interpretations. How can a rock of this carved
shape, which seemed to be made by an artist,
maintain its balance on top of a slender and
slanted rock column, as if inside this column
there is something that guarantees its balance like
the concrete buildings that we know today,
Figure (4). Its roundness or shape, which takes
the form of a disk or a cylinder, also refers to
dimensions that we are not familiar with in the
world of rocks. Rather, it refers us to the world
of living organisms and plants such as
champignon. This is a reason to dazzle the
viewer, and thus this rock model is no less
important than the model of the Great Sphinx
since it is adjacent to it in place and perhaps at
the time of its formation.
Fig. 4. A supernatural rock architecture, perhaps futuristic or space, where the laws of equilibrium are
absent.
Taken from a video posted on YouTube Alekhbariya TV (2020, October 19).
Additionally, we come across shapes in the Hail
Mountains, in particular in Aja Mountains,
wonderful sculptures that extend from the
heights of the Aja Mountains to its foothills.
These forms arouse in us a sense of the duality of
life and death or the duality of the spontaneous
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and the perceptive. It represents a journey into
ancient times through rock formations that took
shapes reminiscent of the skulls of strange
creatures coexisting with forms closer to the
animal forms that we know today, as shown in
Figure (5). It can easily be seen in a shape
reminiscent of the skull of a reptile such as a
crocodile or a dinosaur. It is also noticed that, in
a space adjacent to this model, the shape of a
small animal reminds us of an elephant or a
hedgehog. Perhaps the viewer's imagination may
go further in imagining other forms within the
borders of this image, which represents only a
truncated part of an area full of shapes like such
unique rock models.
Fig. 5. The picture and the illustration next to it show rock formations that have taken shapes resembling
the skulls of strange creatures. It coexists with forms more closely related to animal forms.
Source: (Own authorship).
All these aesthetic elements are a model of what
the Hail region abounds in from other natural
treasures, such as the crater of the dormant
Hatima volcano in the Hail region which is the
second largest volcano in the Kingdom of Saudi
Arabia. Such a volcano can be a site for shows,
movies, and series due to its large size, strange
surface, and aesthetic components. This site
combines the high rocks that make up the crater
of the volcano, which exceeds 150 meters in
height, and the flat lands in the middle of the
crater, which takes the form of a circle with a
diameter of more than 1200 meters. It radiates
white in the middle of the blackness of the
surrounding rocks, as a result of its components
that mix between white salt that mediates the area
of the crater (pictures 6, 7), and the black mud
that still retains volcanic dust as if the volcano is
still active despite the thousands of years that
have passed since its dormancy. This volcano
also retains water during the fall and winter
seasons, which gives the place more splendor,
especially through the process of reflection that
increases its beauty and magnitude.
Fig. (6,7). Show the crater of the extinct Hatima volcano in the Hail region, which is a distinguished site.
Scenography for performances and cinema (Own authorship)
This unique environment could be a good space
to produce science fiction films, Star Wars, or
other multiple artistic and dramatic works since
the spatial framework of some cinematic works
is similar to this natural environment. It is like the
place where the movie The Neverending Story
Big Strong Hands was filmed, whose figure (8)
illustrates one of its scenes in which the director
of the film combines the privacy of the
mountainous spatial framework, and the strange
giant figures emanating from it.
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Fig. 8. A picture from a movie scene whose scenography is like the area of a volcano crater. Hatima
Al-Khamed in Hail region, taken from a video posted on YouTube. (Movie clips, 2012).
The Hail region has a rich cultural history that
dates back thousands of years in addition to its
immense natural wealth. This is reflected in the
various historical traditions; the most important
of which are the rock carvings that embrace the
mountains of the Jubbah region and others,
which are being studied by Saudi and
international researchers. It depicts creatures
such as camels, deer, and other animals that have
become extinct. It can be concluded that this land
has been very rich in natural and cultural
aesthetics, which adds an attractive historical and
cultural dimension to the nature of this rocky
region.
To create scenes of immense splendour and
strangeness, one only needs to choose the
appropriate time, place, and scenographic
framing. The previous presentation is just a
sample, as the Hail nature is abundant. It can be
said that the natural, cultural, and heritage stock
in Hail is no less important than the regions that
represent the center of attraction for the largest
international film producers and directors. The
director of the famous Avatar movie found in the
mountains of China, for example, is a source of
inspiration and creativity. We see a mountain
forest in this movie that is incredibly majestic
and lovely, and the natural scenography used to
make this movie had an impact on it. This means
that the success of any dramatic work is closely
related to the capabilities provided by the natural,
cultural, and heritage elements that move the
imagination of the creator, thus ensuring the
success of the artwork.
The ancient city of Fayd: The city of Fayd in Hail
is one of the ancient archaeological and historical
cities located east of the city of Hail. Following
Basra and Kufa, it is the third city along the
storied "Darb Zubaydah" pilgrimage route. Due
to its extensive archaeological reserves, "Faid" is
regarded as one of the most notable historical
archaeological sites in Hail City. According to
some historical sources, the city of "Fayd" held a
special position during the Abbasid era, as seen
in Figure (9).
Fig. 9. The ancient city of Fayd (Abbasid era).
Source: (Alshaie, 2022).
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The World Heritage Sites in Hail City: Hail City
is characterized by rock art sites that constitute
human creativity and form a civilized record of
human groups over the various successive eras in
the region. The subjects of rock art are
distinguished in quantity and quality, and these
arts reveal the social, cultural, and religious
aspects of those human groups since the
Neolithic period, as in the two sites of Umm
Sinman in Jubbah and Al-Manjur in Shuwaymis,
which are registered in the World Heritage List
(UNESCO), and through the historical eras, most
notably the period of ancient Arabic writings
(Thamudism) during the first millennium BC,
and the early Islamic periods Figure (10). Among
the most significant and well-known rock art
locations in the Kingdom and the entire globe are
those at Jabal Umm Sinan in Jubbah, Hail City.
Fig. 10. Rock Art from the World Heritage Sites in Hail.
Source: (Alshaie, 2022)
Elements of natural scenography
This study divides the elements of natural
scenography into three frameworks:
1. Spatial framework: This framework includes
the natural place, devoid of any additions,
and the extent of its suitability and
consistency with the construction of the
artwork, whether it is a theatrical or
cinematic show. The spatial location
includes indications, symbols,
interpretations, and elements of fascination,
or attraction, such as the Hail sites that were
referred to in the previous part of this study.
2. Structural frame: It consists of artificial
components that can be introduced to the
environment to fulfil the work's objective. It
may come in the form of three-dimensional
structural installations or decorations in
which the rules of perspective and colours
are used, or mass and space, which are the
elements that affect and are affected by the
dramatic action that contributes to the
formulation of the semantics in the general
visual formation. Among the elements of the
structural framework are the actor and his
related costumes, accessories, and make-up,
to transmit information about the time and
background of the represented character.
Together with the other elements of the
scenography, it establishes the overall mood
necessary to display the character's
emotions, as well as the character's
expressive strength, effectiveness, and
capacity for improvement. Since it greatly
aids the actor in identifying the setting,
period, and performance act within the
purported text that transforms into a
purported show, it is not aesthetically
distinct in its work from the actor and his
performance in the show.
The scenographer creates, finds, draws, or
researches those accessories that help in
achieving the theatrical performance and the
aesthetic state in addition to the intellectual state.
The aesthetic state cannot be attained without
several variables and aesthetic foundations, some
of which include the following:
− The proportionality between these
accessories through the assets of the
theatrical or cinematic show, because it is
the basis for judging the beauty of things of
all kinds. It is necessary in the arts to define
beauty in it. The state of proportionality is
not only a consistency between the parts but
rather a correspondence between the spirit of
a thing and its matter or its external form.
This principle is the one to which mixed
forms of things such as swords, shields,
cannons, sticks, pens, helmets, umbrellas,
etc. were subjected. Here, it goes beyond the
apparent meaning of proportion as a ratio
between the height and width of the body or
the length and thickness of the leg.
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− Diversity in different colours and shapes
within the limits of proportionality, in a way
that comforts the eye when looking at it.
Diversity is the difference in colours and
shapes within the limits of proportionality
and in a way that comforts the eye when
looking at it because diversity is one of the
important factors in the recipient’s sense of
taste and pleasure. Otherwise, the recipient
might find it boring. It is said that the shapes
of theatrical accessories and their
proportionality with their length and body
could not be chaotic or arbitrary (by merely
mixing a wide range of colours and shapes
without a purpose).
− The consistency of being still and remaining
steadfast: that is, in the sense of creating
angles of vision in steadiness and
movement, and from all sides, we may see
things in terms of the side view more
beautiful than in the front view or vice versa.
− Without obtaining diversity, simplicity is
useless. In contrast to how we see cubic
objects, we see circular objects differently.
Vertical shapes differ from horizontal
shapes, and triangular objects differ from
square objects, despite the simplicity of the
composition. However, we can achieve a
variety of forms by including diversity to
simplicity.
− Complexity: This element can be traced
back to the psychological foundations of
interpretation and analysis. Because the
passion for the pursuit is ingrained in us
from an early age, we can clearly experience
this pleasure in hunting. When one
accomplishes something difficult, he
experiences great pleasure. We mention this
example to emphasize that the eye feels a
similar pleasure when it sees winding,
curved, and overlapping objects and
materials (such as complex and compound
ornamental shapes). The objective is to first
produce the necessary diversity and then, in
some circumstances, move away from
straight and direct shapes rather than
develop complicated shapes and materials
for the sake of complication.
− The size: The appendix's size and smallness
have an impact on how the recipient of the
show perceives it. For this reason, designers
lengthen the cloak that the actor wears in the
Greek theatre, making sure the stick has an
obvious length and size that corresponds to
the actor who plays the theatrical role.
Digital framework:
This framework is directly related to the spatial
framework of nature. It is the one that would add
mechanical movement to some parts of the
structural framework, add sound, light, or
musical technological effects, or create digital
characters and move them within the natural
spatial framework. The scenes included in the
digital scenography within the scope of the
spatial framework can be prepared in several
ways. The primary source is computer-generated
imagery, which is created with programs like
Virus Walk Through Pro. It's a piece of software
that can create virtual settings where one can
walk about visually. These programs can prepare
video files in stereoscopic mode, ready for direct
use during a presentation. These scenes range
from photographic fidelity realistic simulations
to fictitious situations. The second source of
imagery is digital actors who appear as
holograms that are interpolated into the scene
with real actors. Their movements are controlled
by actors outside the stage through computer
systems. To achieve this, binocular remounted
video cameras are installed. Through the
simultaneous broadcast of the image from both
cameras, spectators see stereoscopic figures
moving in the scene, occupying space in the
scenographic space of the theatrical
performance. Rear projection is also used in the
entire background of the scene to enrich the
spatial environment. Among the modern
techniques of scenography in light of the era of
digitization is the use of the hologram which is
one of the applications of lasers to produce a
virtual stereoscopic reality, and the computer has
preceded in this field (Masoud, 2021). Accessory
elements, like cinema, are utilized to support the
artistic presentation of the many current
technologies as well as the use of video
technologies, and the mixing of theatrical and
cinematic images in the artistic presentation. The
technological or digital framework aims to create
and innovate intellectual and artistic pleasure in
an aesthetic manner in which the connotations
and symbols expressed by the various elements
of the show harmonize to gain the admiration and
response of the recipient to the show as a whole.
The technology-based scenography reshapes the
theatrical space, eliminating the boundaries
between the stage and the audience. It also seeks
to establish a spatial and visual relationship
between the drama and the audience.
As for the answer to the second research
question, which is: What are the possibilities of
benefiting from the natural scenography of the
Hail region in the field of performances and
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cinema? This requires clarifying the appropriate
trends, which are:
First: Natural visual theatre:
Natural visual theatre is a field of theatre that
requires a connection with the natural setting.
This type of performing arts combines natural
scenography with digital scenography that relies
on technology, sound, light, and colour effects.
Among the pioneers in this field is Robert
Lepage, who is known as the magician of the
stage, and who occupies a prominent place
among the names of the five most important
theatre directors after the generation of Peter
Brook, namely the American Robert Wilson, the
German Peter Stein, the Russian Lev Dodon. The
French Ariana Manouchkin is one of the pioneers
of visual theatre that transforms the public place
into a magical place and the magical place into a
realistic one. His theatrical work with his troupe
"Machina" is based on collective innovation, and
the improvisational construction is not in the text,
but even in directing if the script is not written by
one of the writers. To do this, the band calls for
artistic and technical elements from various
fields of art, technology, mechanics, and digital
devices. To build the theatrical show in a modern
way, digital technology combines the world of
cinema, video, computers, architecture, sound
devices, and modern technical effects. Lepage is
even accused by critics of using more technicians
than actors. For example, in his play (Senior
Hamlet), there were 35 technicians on the stage.
Due to the unavailability of a few technicians, the
play's performance was first delayed and then
completely postponed (Masoud, 2021, p. 306).
Second: Arts for Museum Display: Museology
has utilized natural scenography regarding how
natural museum exhibits are set up as well as any
connected lighting and audiovisual elements.
Scenography is an aesthetic perspective related
to the visual, experimental, and spatial
composition of artistic performance. The Hail
region enjoys the nature of its history extending
throughout the ages, starting from prehistoric
times, and passing through the Islamic
civilization. The art of rock painting in the Hail
region is characterized by distinctive and special
artistic features. The site of the rock paintings in
Hail joined the UNESCO World Heritage List in
2015 AD. The historical stages of the rock
carvings included 4 stages: the Paleolithic period,
which extends from 7 to 12 thousand years BC,
the Copper Age from 5600-4500 BC, and the
Bronze Age. 2500 BC, and finally the Iron Age
before 1500 BC (Alshaie, 2022).
Second: Documentary Films:
Documentary Film: This term refers to a certain
type of film production that, in both content and
execution, completely focuses on reality and
does not pursue financial gain or enjoyment.
Rather, it is primarily concerned with achieving
special goals related to media, education, culture,
or preserving heritage and history. It always
addresses the mind in one way or another. It is
distinguished by its clarity and directness and
frequently has a brief presentation period
because it calls for a high level of concentration
and is intended for a particular audience. As
satellite channels compete more fiercely for
viewers, they use various forms of visual and
aural glitz to appeal to different societal groups
who are yearning for the variety of programming
that these channels offer. The documentary film
remains an important artistic product due to its
characteristics. It derives its material from the
reality of the place and the lives of the people
who live in it. Therefore, it has a strong influence
due to its sincerity. It can instill positive social
values, and enhance national belonging (Abdul
Latif, 2015).
Third: Television and cinema films:
The researcher Rahmouni Lubna points out that
cinematic tourism studies have developed
significantly since the early 2000s. These studies
are based on conducting quantitative and
qualitative research, such as surveying visitors to
a particular site to learn why they visit it and
whether their visits are primarily motivated by
watching a movie or television program about it
or if it happened by chance. Studies can be
conducted on tourist visits before and after the
release of a TV show or movie about a particular
destination. There are several instances of how
the popularity of popular television shows and
movies has influenced tourist destinations.
Researchers have frequently discovered that a
TV show or film can increase the number of
tourists who travel to a particular location, but
studies have rarely pinpointed the precise causes
of this. For instance, the Peter Jackson trilogy
"Lord of the Rings" and "The Lord of the Rings"
positively impacted tourism in New Zealand, and
the AMC series "The Walking Dead"
transformed numerous little Georgian towns into
popular tourist attractions as a result of viewing
the aforementioned film content. The reason for
this, without a doubt, is the image of the tourist
destination, which the film or television program
focuses on marketing in the best way (Ben Shrad,
2022, p. 56).
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Study procedures:
To extract the results of the study and ensure
Hail’s suitability to the arts of natural
scenography according to the descriptive and
analytical approach, the researcher developed a
questionnaire consisting of two axes:
• The availability of aesthetic characteristics
of natural scenography in Hail City.
• The extent to which it is possible to benefit
from the natural scenography of Hail City in
the
• field of performances and cinema. It also
contained the photographic samples
included in the images of this study. The
study sample consisted of (15) individuals
working in the show and film industry who
responded to the questionnaire. Their
nationalities are from three countries (the
Kingdom of Saudi Arabia, Egypt, and
Syria). Their jobs and numbers are clear
through the following Graph (1):
Graph. 1. Characteristics of the Study Sample.
Results
After conducting a quantitative analysis of the
data, the study concluded with the following
results:
1. All natural images included in the resolution
are characterized by a consistent spatial
framework suitable for constructing the
artistic work, whether it is a theatrical or
cinematic performance.
2. The ability of the spatial frames included in
the resolution to contain multiple structural
frames depends on the characteristics of
those frames, which are characterized by
artistic and aesthetic foundations such as
proportionality, diversity, simplicity, and the
ability to be interpreted as a result of the state
of consistency between stillness and stability
to create viewing angles in stillness and
movement.
3. The ability and ease of attaching a
technological or digital framework to all the
spatial frameworks included in the
questionnaire.
4. Suitability of World Heritage sites in the
Hail region for cinema, especially
documentary and historical films, and
museum display arts.
5. The potential of the crater of the extinct
volcano, Hetima, to movies and science
fiction films.
6. The potential of the rocky cavities in the Aja
Mountains for scenography that is
concerned with fantasy and mythology
films.
7. The ability of the Sphinx Rock located in the
village of Aba Al-Hiran to be used for
scenography, which is concerned with sound
and light shows and science fiction films.
8. Hail has distinguished tourism potential,
highlighting the need to activate the role of
television and cinema films, to transform
Hail into
9. a regional and international tourist
destination.
10. The ability of natural scenography in Hail to
attract viewers by presenting all forms of
visual and audio dazzle and meeting the
needs of segments of society who are
looking for different content. The study
recommends working toward effective
advertising to attract the attention of those
who are interested in performing arts and
film to Hail.
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Conclusion
This study has investigated the aesthetic function
of the natural scenography in Hail City, Kingdom
of Saudi Arabia, and its significance as a regional
and international entry point to artistic endeavors
and filmmaking. Hail City's unspoiled splendor,
which is exemplified by its striking vistas,
unusual geological formations, and varied
ecosystems, has drawn tourists, artists, and
filmmakers from all over the world in addition to
the local populace. This research has
investigated, using an interdisciplinary approach,
how Hail City's natural scenery may be an artistic
canvas and an inspiration source. Artists and
filmmakers can use the natural landscapes of
gigantic sand dunes, enormous deserts, ancient
rock formations, and picturesque oases to create
visually breathtaking and emotionally stirring
works. Furthermore, the study has illuminated
the noteworthy function that Hail City fulfils as a
local and international entry point for the arts and
film. International art festivals, movie
screenings, and exhibitions have been
established as a result of the city's dedication to
supporting artistic efforts and cultural
interaction. These gatherings have enhanced the
artistic environment in Hail City and beyond by
showcasing the abilities of regional artists as well
as encouraging intercultural communication and
cooperation. The article additionally addressed
how the local community and its cultural identity
are affected by the natural scenery. Due to their
strong ties to the natural world, the inhabitants of
Hail City take inspiration from their
surroundings and use natural materials in their
traditional crafts, storytelling, and artwork. Hail
City community's natural scenery serves as a
unifying factor, promoting a sense of pride,
belonging, and cultural heritage. Briefly said, the
natural scenery in Hail City serves an aesthetic
purpose more profound than just being
aesthetically pleasing. It acts as a stimulant to
produce art, a forum for cross-cultural dialogue,
and a wellspring of group identification.
Recognizing and protecting the inherent worth of
Hail City's natural scenery is essential to ensuring
that future generations can continue to be
inspired by its beauty and utilize its creative
potential as the city develops into a regional and
international centre for the arts and film.
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