There is a consensus among many of the views seen in the play "Six Characters Looking for an author to" Berandelo Mmsarha chronology of the drama. Vpetr Zonda considered self-presentation of the history of drama, Manfred said it Chmilng self-critical view of the history of drama, and Patrice Pavas saw the presentation of twenty-five centuries of poetic drama.
The most interesting in this consensus is the new version, which became the concept of "literary history", a creative formula, or formula explained in words - text. Valtsourat old made the "most of the literature, dates of either the dates or the dates of the social ideas, as clarified in the literature, or impressions of it and the provisions on certain jobs are arranged roughly in chronological order".
However, the new conception is based on the base of creativity in Dimensions of productive Productif And Altqubla Receptif The sense that it dates from within the creative theatrical production and reception at the same time, thus avoiding the transformation that can occur when history of literature, which may make it a form of sociology.
The Almitamsarh - founded a new concept of the history of drama - runs parallel to the path charted by Michael Rafatyr of the history of literature, which emphasizes the relationship phenomenon literary Bmtgayha, so when he says: "facing the literary history is always a risk shift: it is easily be turned to the history of ideas, to sociology. It is often merely a historical study of the phenomena of nature literature mainly.
Therefore, he is in desperate need to surround himself with the guarantees provided by the Muslim Analysis formal core, namely, that literature does not consist of intentions, but from the texts. and that the text is composed of words and not things or ideas. and literary phenomenon not determined the relationship between the author and text, but the relationship between text and reader".
Based on this perception, it can be said that the perfect stage performance history entered for this new data has become the dimensions of other monetary and aesthetic. It creates, on the one hand, they met the literary structures old and new ones, and this is based on confrontation and conflict and the demolition and construction. It is also on the other hand, makes the receiver a party to this conflict and paid to the development of a sense of literary structures.
When Almitamsarh undertaken this task has become another job function can be called interpretiveHerméneutique Which explain Chmilng saying: "The scene inside the theater a kind of literary history in the work itself, because it includes, like every form of thinking which, in cash or a ruling on the past literature in general, and on the terms of the production type and received in particular. Therefore, it can be Mitamsarh function of interpretive Mahith require reference to what belongs to the tradition of line, and make the recipient feel that the development of. It is, therefore, the face of literature".
It follows from this statement that Almitamsarh creates mechanisms to convert the receive mainstream. Its nature as a practice play against the cash and the illusion of gravity and the merger, making multi-dimensional gap to allow recipients greater freedom in dealing with it from different angles, and make it open in front of him to compare and exchange and governance. Words one can say - Asih to receive aesthetic - that the prospect of waiting for the recipient enters the bet because it becomes vulnerable to transformation.
The interpretive function of Mitamsarh allow re-writing the history of drama, how to cash, and opens a new horizon to receive theatrical drama makes to keep pace with the spirit of its age and is characterized by dynamic.
التسميات
education