U.S. study distinguishes between two basic perspectives in the control approaches on the subject of Almitamsarh: open a metaphysical perspective - represented by Abel - stems from the Almitamsarh part of a larger phenomenon is designated Balmitaatmsarh Metatheatricality Based on the idea of "world theater", and closed a psychological perspective - represented Caldrwood - Almitamsarh when Shakespeare is a reflection of its origins as an artist, and psychological control over the writing of drama.
However, these two perspectives Igban essential dimension in Mutaiamsarh is - in the eyes of the researcher - in the cash position of the Critique of Almitamsarh Moadat Daramatorgih and theatrical mainstream, where it says:
"I do not fit any one of these two scenarios - Open metaphysical or psychological closed - with a cash position of any Matadrama with its role as a play cash Moadat Daramatorgih and drama of its time".
The Almitamsarh, then, dramatized criticism, any criticism is a play with tools. Being as well as it creates new ways for the exercise of criticism and thus the practice of theater is achieved with harmony and compatibility between different Manshertyn two practices in one template is a theatrical work.
In this context, it is noted that as the cash Almitamsarh Mmsarha, adapted to the subject matter, as it turns theatrical creations included the cash for this dimension to the "acts of Sraih" or "the face of literature", in the words of Jacques Nishi. And fall within this framework acts like a "frog" to Erstovan, and "impromptu of Versailles" by Molière, and "Opera Sharks of the three "to Brecht. Such acts create they met between the two forms of exercise play each characteristics and aesthetic dimensions of ideology, and is keen to make the viewer a party to this conflict, as motivated to take a position on the stage - the discount. In this context" becomes Monetary resistance group, objective and unbiased , contrary to criticism professional who is an individual, self-neutral ".
Careful criticism of this perfect stage performance characteristics To reduce the illusion significantly, so as to enable the viewer to take the space necessary for the act of cash, especially since the criticism turns - in the context of the theater - to the "trial of life" carried out directly on the eyes and ears of the viewer, and becomes a conflict of evidence between the two theaters, and therefore Jamalian between the two perspectives and ideological, debate and a real war of words can not spectators to remain neutral about it.Perhaps what makes neutrality unlikely that the criticism is the perfect stage performance is not aimed at a certain stage only, as far as targeting a reality as a whole, Bmoasfath political and ideological.
The property conflict and controversy that inhabit Almitamsarh make it turn into a "test of truth Epreuve de vérité "Shifts the values to historical data relative, and not to the jewels absolute immortal. Then, the framework is the real cash-perfect stage performance - from the philosophical point - is a comparative and historical. That this framework that allows open discussion and a broad and non-conditional on the validity or false representations the prevailing ideology and the reality of a particular, and emphasizes the correlation that exists between the moral dimension of the perfect stage performance and the criticism of political and ideological dimensions.
From this holistic perspective, we can refute the view that cash is the perfect stage performance return to self-reflect a kind of "narcissistic retreat," to emphasize that this return is open to the history of dramatic forms as a translation of the history of social and political values.
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