When we contemplate the history of the theory of theater, from Aristotle down to the last capillaries avant-garde in the twentieth century, we note that there are two approaches with great control over the course of this theory: first, a Menza holistic keen to develop perspectives College valid for trading on the times and different places, and scalable simulation and imitation Kcharih Aristotle for example. Menza and the second with a keen self-tutor the owner to create his own theory to reflect his vision for the theater. There was this perception, in particular, during this century, although his roots and beginnings in earlier periods. And Jean-Jacques Robin explains this phenomenon as the "Find a saying which has become - thanks to the development of science - the primary force that attracts artists." It is attractive reflect the spirit of the times, not only scientifically,
But also in terms of Alaadioljah, where Decline in the collective belief in the values and attitudes of inclusiveness, and became a man feels that he turned into an isolated entity, but no relation to his environment and weak links. Then, it has become more creative on the corner and creativity trying to formulate a theory which crystallizes Mahith or implied by the perspective of the theater and reality at the same time.
The basic form of Almitamsarh channel for this type of creativity inherent in the theory, where we read the texts of the play to draw the position of the author of the theatrical process as a process of productive and receptive at the same time. In this context, we can extract from these texts the perspective of the author about the concept of the text or Representative, or the output or receipt, or about some of the thorny issues that had occupied theorists of the theater - whether philosophers or scientists beauty or playwrights - Kalmhakah and realism and function, aesthetic and educational theater and others. Perhaps this is what makes us see that this theory Mahit connection, however, issues of intellectual and aesthetic of each era of the ages.
If Brecht, for example, asserts in his plays on the argument of the "Westernization Distanciation "As the saying translated into excellent perspective about the relationship with the recipient theater, this assertion does not find its true meaning only in relation to other proverb is" Alastailab "as an expression of a phenomenon linked to contemporary human beings and their suffering daily in the age of confiscated all the values of humanity.
It follows from this is that Almitamsarh second aspect of poetic creativity within a play list of contributing to the Development of ideas and development of the play, but it is not closed on the same lattice as long as they have extensions in general literary pattern of the era, which spawned.
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