Mohamed Maghout play "Clown" in the early seventies, following the historic event that shook the entity of the Arab nation, and the dislocate structures of intellectual, political and social, that is, the defeat of June 1967.
I have printed this event playwriting Arab features a private, most notably the concept of writing in the dislocation itself. Most playwrights were convinced that the Arabs have entered a time of fresh air: is a time of wonder and question the prevailing re-consider what ideas and devote Moadat in the areas of culture and politics, and culture. Therefore, the transformation of theatrical text also to a laboratory to test new technical formats suit the nature of the transition phase, which was printed.
Mohammed was convinced that the method Maghout appropriate to the stage of vibration is the cultural and political cynicism. For this,
Wrote the play "Clown" in this background. In so far as political frustration, basically, this irony has assumed a political character.
The discharge of these ridiculous political theater, resorted Maghout to write a satirical text Mhakati Texte parodique , Is the text of the "clown" on a strategy established by Tnasih Bmntalqatha conscious aesthetic and ideological dimensions at once.
We have found Maghout trivial in evoking a famous Shakespearean text is "Othello", where he thought it rude Esprit Tendancieux - Freud's words - and tried to re-examine the construction and function together.To reflect this thought, was to resort to ridicule, which is "essential to the functioning of parody and satire". It is noticeable that Maghout focused on the appearance of language in achieving this irony, that is, on what he calls Bergson Bergson To "Comic words," and some call the stylistic distortions Distorsion Stylistique.
This Almenza Mahakata satire in the play Maghout take, in fact, a way to demolish the specific methods and formulas in the diagnosis of certain carded in order to build the other. The bilateral demolition and construction at the heart of the confrontation created by the parody between the text of an earlier and another later.
In this context, we can say that the play Maghout try, in depth, shaping the poetic historical drama, according to specific principles to regain - implicitly - the debate that laid the foundations of Aristotle regarding the relationship between historical fact and theater, and therefore the relationship between the two principles Mhakatien main pillars: the real Véridique And potential Vraisemblable . For this, evoke Shakespeare through one Trajadyate famous, is a ride to re-think how dramatization of history, and thus in the basic principles of classical poetry, which has controlled the type of drama is essentially "the historical drama."
Puts us, then, the play "clown" in front of two levels Mitamsrhieddin must analyze how they were diagnosed Gaúaa, Modoatia and visionary in the text, namely:
- The level of Tnasi, Mhakati satire, based on the demolition and construction.
- The level of my hair (relative to the capillary) to include the basic principles of historical drama.
The first level controls in the first chapter of the play, while the second level is the embodiment of the chapters pro, II and III.
Troy play "Clown," the story of a theater group Mobile take place from one of the cafes of view, scenes of the play try to provide to customers who attend the coffee shop. Has written a program for that theater consists of three chapters; first "Separation of jealousy," which is inspired from "Othello," Shakespeare, and "separation of justice" and the good Haroun lists, as well as "separation of bravery," which evokes haggard.
Perhaps it is matter of concern here, is the fact that the structure of the story in the play is based on the installation of the chapters is a minor tales are linked by the technique of the narrator, as the drummer in the play to provide the viewer and listed the related events.
Valmsarhah, in the beginning, to reveal the game play and build on the eyes and ears of their audience, and the improvised scenes in the space of the cafe, where the overlap realistic Palmtejel, we find, therefore, drummer welcomes customers and ask them chairs to sit parallel to submission of the gap the play.
The exposure of the game play help the audience to take his position to allow him to interact and take the appropriate positions. Thus, we note that the public component of the customers of the cafe show different reactions ranging from applause, protest, indignation and comment on events. All this makes us the play list on the basis of Tgraybe in production (installation Gaii) and receive (to create distance between spectacle and audience) at the same time.
In parallel, the play "The Clown" on the dramatization of history, through the perspective of "creating a balance between history and" fantasy "with the satirical writing of giving priority to the second side just until the date mask or an excuse to raise the idea of tragic". It is clear this dimension, evident in the level Altnasi of the play.
It conjures up a chapter of the play "Othello" of Shakespeare, a chapter that I think Othello that he discovered his betrayal Dzdemona through the story of the cloth. But this is Alasthoudar - When Maghout - otherwise disclosed drummer, we understand
Them that it's not about the process of simulation of Shakespeare, but the process of converting him:
"Drummer: ... We are pleased to take this opportunity to start our program to this day one of the greatest playwrights in the world, namely Shakespeare and the theatrical play of the greatest Plays in the world, namely, Othello (Applause) and will You see this play radiant new look and style was not covered by all. All thanks to a group of young avant-garde rebel Rebel (representatives bow to the public)".
It comes, then, a theatrical play "Othello" is not as formulated by Shakespeare, but in another way, the "new look radiant and feel was not covered at all," said drummer. This Hilla and this method are, in fact, an explicit reference to the two procedures Thwyllien relate to basic satirical simulation, namely the conversion Allobei Transformation Ludique Which is based on removal of distinctive character of nobility of the subject in the text of the original first and put a vulgarity on it, then transfer alphabetical Transformation SatiriqueWho works hard to break down the method of the play and replacing the original style and ironic laughter.
It is known that the conflict upon which the tragic play "Othello" of Shakespeare is exemplified by the cleavage between Othello honor the one hand, and love the other. And the separation of jealousy in Shakespeare's play is a diagnosis of the peak reached this conflict, because it put Othello before the real test in order to choose a firm stand, either make him bow to the call of shades and accept the humiliation suffered by him, or the defense of honor and revenge Dzdemona supposedly betrayed. In short, The subject of the play is a struggle for a noble values (honor, and love), took place in the atmosphere of tragedy penned by Shakespeare, as usual, style and poetic vision of humanity unrivaled.
However, the presence of Othello in the play "Clown" will take another manifestation line and the distinctive nature of satire. Valmagut focused on the character of Othello as a historical figure belonging to the heroic memory of Moroccan and Arabic. Therefore, the issue of jealousy no longer relate to the issue of self-Battiyl alone, which means emptying the tragic conflict of the internal psychological content, but rather a collective political issue concerning the fate of an entire nation:
"Drummer: ... Because our time of gold will not offer the entire play, but confine ourselves to separate one of them, a chapter on jealousy representative (clapping) because of jealousy, brothers of the most important threats facing our nation's destiny in the current circumstances .. ".
The play turned the direction of the issue of jealousy to consider the cause of weakness of Othello and non-Arab hero of duty, in the face of the nation's enemies. From here, we understand that the sudden transition in the play of feelings of jealousy Maghout to the atmosphere of political conviction, and therefore, from climate to climate tragic satire, which prevents the conviction of the person (Othello) to the same writer (Shakespeare). The latter will become a writer has to do with colonial Britain, America and NATO, that all symbols of colonialism and domination in the contemporary world:
"Drummer: But who is responsible for the painful fate of this hero received the Moroccan Courageous?Who destroyed his life and deprived him of his home, his wife and tranquility?
Customer: Shakespeare .. Shakespeare
Customer: Down by the colonial Shakespeare
Voices: fall. Fall. Fall".
The political climate of cynicism which has become a tragic Shakespearean frame act to impose necessarily suitable method. The ongoing dialogue between the clown in the role of Othello, the actor in the role of the first Casio, reflects, clearly, that Shakespearean poetic language is no longer adequate. So, was made up for the language reflected in the satirical tongue slip Lapsus (Male Naples, Venice, in a dialogue instead of clown), and vulgarity analogies that give the position (indicate one of the instructions to play Othello to "snatched cloth and smelled dogs effect"), and reactions, which combines the word irony and the movement (position and sneezing).
If the play "The Clown" convert twofold: to my game and alphabetical for the play "Othello", the use of this strategy Altnasih not just pedantry formality, but it is a translation of the artistic vision and ideology based on undermining the poetic historical and other construction place.
The dramatization of history characterized by two-dimensional Maghout key: After my hair in formulating a perspective on how the presence of history within the imagined theatrical according to specific principles and reflected in the post-ideological link Bzmnha play, just after the defeat of June 1967.
On the point dimension of poetry, it is noted that the play - after the completion of phase disruption, criticism and ridicule of the method of diagnosis of Shakespeare to Arab hero, based on the hit reality principle (point play to the land of Morocco, which has given Shahid Mehdi Ben Barka can not give Othello these specifications any attributes of a hero occupied by his passion for the national cause) - starting the construction phase, the implicit theory of how the presence of theatrical history in the Arab text. After the end of the separation of jealousy, declares drummer:
"Drummer: [...] will not surrender and will not give up as long as the rich history replete with trophies and Makarem values and meanings. Theatre Company is pleased to Mobile struggling for goals and aspirations to make the audience conscious of intellectual Page live our glorious history .. Ftal is not the only hero in our history. . Where our heart .. pages of this history, we find so often fills tournaments tournaments, burdened with the commander and the commander ...".
In this context, the play conjures up two contradictory history of the Arab relate to two different two identities: Harun al-Rashid and Saqr Quraish. The different reactions of the public about the way Msarhthma. The diagnosis Harun al-Rashid raised the applause and cheering, while the diagnosis of Quraish sparked protests and condemnations her whistle:
"Clients: (zeroing the center and the shouts of disapproval) of this falsification of history".
The public protest of how the theater by the haggard (a man wearing a kaffiyeh and Akala over the pants, overstates the suture and cramping, shoes pierced, did not know that the month of September is September, Ashq women; thus describes the instructions theatrical) reflects the in-depth criticism of prejudice play two basic principles History in the simulation are: the real and potential.
It is not coincidence that the play strategy Altqobih evaluated on the basis of historical Shakespearean drama is "Othello", particularly as the model for Shakespeare embodies the distinctive way in the representation of theatrical history in order to lay the political values related to national identity and patriotism. It is not surprising that the play strategy to build on the Arab history in two different ways: first, embodied the principle of truth (Harun al-Rashid authoritarian and schizophrenic), and Bravo, the public because it was identical to the horizon waiting for him, and thus reflected the principle of probability as well. And the second moved away from the truth could not bring the power of persuasion (convincingPersuatif Has to do with Balhakiqi and potential in the eyes of Aristotle), because it provided haggard in the form of stock raised indignation and rejection born of the public.
The positions of the audience in the play "Clown" is the base upon which the poetic historical drama also wanted Maghout. They reflect, significantly, this is the last of the classic poetry and try to restore its basic principles, in the text, and consolidation as principles essential to the dramatization of Arab history.
Then, can be considered the play "Clown" in the Arab contribution to the theoretical accumulation associated with the relationship of theater history, and who put his daughter to the first theories of Aristotle and restore classic and romantic later. Has raised a fundamental question in this context, is: "What makes theater history from the process of L'Historiographie ? Where is the innovation and creation and the hair that allows the genius to prove itself? The answer is that the historian should take into account the events as they are installed in the documents. The playwright tries to find behind these events, feelings and motivations and emotions and behaviors that make it possible to fall. It is true that there is a margin for doubt and for the unknown, too, is the area of creative inspiration and freedom".
It is no doubt that Aristotle dealt with the relationship between theater and history in this perspective, identifying its core principles are: real, potential masked. What is real is what has occurred, and until it has the force of persuasion possibility to achieve the requirement, and therefore are identical to the horizon waiting for the viewer, that is what it considers a group as possible in time.
For this, Providing haggard as a hero commonplace in appearance, behavior and language, do not convince the audience of customers, because it goes against the truth and does not reflect Is carried by this hero.Thus, deliberately play "clown" to rebuild the historical picture of the haggard to take account of the fundamental principles of the historical drama on the one hand, reflects the updated vision of the writer about his nation's past and present at the same time.
The second and third chapters of the play are moving in this direction correction: Correction of previous theatrical scene which paints a picture of the trite haggard, and correction of history at the same time. This has been achieved the first requirement by invoking heroic feat of haggard, and check the second requirement by creating overlapping Badi between past and present, are on the haggard to the character of contemporary Arab coexistence time the Arab poor, any time of failure and defeat, who lost the land of Arab Palestine, trying to build momentum and do its historical role in order to restore what was lost, but it will hit the Arab conspiracies and betrayals that will lead to a personal trial as a terrorist.
Here, open poetry hosted by the Maghout in the text of the "clown" on the historical context, to make us stand, close, on the ideological dimensions of the practice-based strategy Almitamsrahih intertextuality.
Altzkirhna it is inevitable, that the play was written in the early seventies, and they set up Mtejelha history.So, "any talk about history in relation to the Arab theater can not be completed unless we have aspects of a survey of the conditions of civilization and political and intellectual, which has controlled the course of Arab theater, especially if we know that Aldramyin Arabs had taken refuge - in most cases In particular after the defeat of 1967 - to date as the knowledge to highlight the personal privacy of the Arab and to address thorny issues fall within them the historical process, to extend the revolutionary who knew him from the Arab world during the current and new conditions".
Consistent with this view, the play "The Clown" restored historic symbol of the Arab is haggard to be a model for contemporary Arab hero who does not accept defeat, and tries to restore Arab glory. And Asthoudarh these specifications, the objective of disclosure about the reality of conspiracy and treason in the Arab World, especially as it recognizes - in the end of the play - to third parties as a terrorist, through a secret deal.
It follows from the above, that the play "Clown" assess her Almitamsrahi on the basis of the mechanism of demolition and construction, in order to establish clear principles for poetic historical drama in the Arab context. Perhaps this link is the context in which to make your color Maghout own poetic vision that is based on the conviction of the reality of conspiracy and treason and defeatism.
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