It was a goal, all of the above, is to draw a clear conceptual framework for our subject in the light of which we can approach the manifestations of the phenomenon Almitamsrahih theatrical texts in the Western and Arab. This theoretical framework that we wanted to be poetic and Taoalaa at the same time, because we are well aware of the relationship between interaction patterns and literary formats abroad - literary.
We have noticed that the phenomenon of Almitamsarh relationship with the art based on the literature and watching at the same time, is the art of theater, so we had to determine the starting point and clearly helps to plan the path of theoretical and draw prospects approach the process of Mitamsarh, there were also imperative for the selection of sense literary, considering the stage practice of literary and Almitamsarh manifestation of a text.
We have had to monitor aspects of the difference between the coalition and Almitamsarh and literary phenomena close to it relate to other types of literary Kalroaah and hair. Has been imposed on us this approach - in terms of the coalition - the use of Basharia literary text and the intent to look Almitamsarh - Like Almitarwayh Almitchar and - as a manifestation of the Mitanasih and a kind of literary cavity. Also imposed on us - from the point of difference - evoke the poetry scene, especially on the side of the issue type to reveal the dramatic blockade of the specificities of these poetic excellence Almitamsarh species in relation to the drama.
The stop at the borders of poetry was designed to detect structures and mechanisms Almitamsarh he quit qualitatively and functionally. However, the opening up of these structures on the different aspects of contextual Bazareth author or related to its context, or cultural, we have made suggest that the lattice Almitamsarh interpretive poetry. It was not our intention here kind of interpretation but to stand at the direction of meaning about the reference and detection of media held by the discourse between man and the world. The text, for us, is always open to the world.
This theoretical framework is the one who dictates a systematic approach to horizon Almitamsarh Palmtn in relation to the Western and Arab theater. This horizon on two overlapping and complementary: the
- Description and analysis of structures.
- Interpreting it.
If we intend to accomplish these processes in the light of the theoretical lines Hereby, we assume, however, that the approach that will reveal to us about a different relationship between theory and practice. Acts of individual structures may coincide with the public or only take them next, and Tensah it is paid to re-examine the major principles of the theory.
Perhaps this is what we announce these possibilities now, is our conviction, as required by the nature of the Matin we Theatre itself; is divided between two different contexts: Western and Arab. In addition, the nature of Almitamsarh itself tend toward what is self and what to do with revelations of creative vision and the things around him. Then, do not rule out that there is a difference between the ways to engage in or Almitamsrahih Mqsiditha the creator to another, even within one and the same context, and perhaps we will have in the "Almertjlat" The best proof of that.
التسميات
education