Another form of improvising a framework for the exercise of Almitamsrahih Arab drama in the text, through the vision of a pilot trying to inspire some of the manifestations of modernist as embodied in the Western theatrical experience, including in particular: improvised formula and the formula authoring collective improvised.
And improvisation - as is well known - a play technique is based on the achievement of real-time behaviors and attitudes of letters and unforeseen, and unexpected, and not subject to the preparation of mostly tribal, or linked Bouktath general precedent, as in improvised comedy. In this sense, the employment of improvisation in the western theater, and formats simulator has been invested in the Arab theater.
However, there is a difference in the nature of controlling background in both Alastamalen. Valaratjal, in the West, a translation of a general trend is linked to pre-requisites of modernity on the one hand, and openly practice the play to contemporary human sciences and especially anthropology, on the other. In light of these facts, we understand the return of the western theater with the beginning of this century to play an old version of comedy is improvised, and in the context of a general phenomenon characterized this stage is the phenomenon of "back-to-asset". Falcomidea improvised lead, in this context, the "dual function: as the first (Metha), and paradise is missing for the theater looking for assets; and the second pattern reflects the characteristics of a theatrical style seemed problematic and contradictory through practice".
In the Arab theater, the persistently obsessed with experimentation theatrical improvisation technique emptied of their contents Anthropology, and the short appearance of the modernist approach to technology or the theater. Therefore, we can not ascribe the same dimensions taken by our theater improvisation west of the Arab.
Valmsarh the Western mode of improvisation at the core of the existential problem related to the duality of the individual - collective, or self - the other, as confirmed by Michel Bernard Michel Bernard Which believes that the technique of improvisation theater "is a game minutes to mess visible, otherwise they break a virtual system is exposing as a artificial and repressive towards the emergence and development of the system seems natural and editor. Therefore, all the defense of improvisation theater could take here - after the reverse meaning - the form of "praise to the chaos," the play ... In this case, the disorder does not mean at all self-destruction or the impossibility of life underground, but means, on the contrary, the investigation of Being and the flow of revolutionary self-hidden".
If the investigation of Being and the revolution of self-formed the philosophical base for improvisation in the West, they were also noted as a basis to see the ideology based on a breach of the rules of the founder, and undermine the authority of writing, including the reduction of the object and the fencing of his freedom and to compensate the authority of the body most relevant to a vital, daily, and more a rebellion against the authority and order.
Perhaps this link between the ontological and ideological in theatrical improvisation is illustrated in detail Michel Bernard Saying: "If the concept of expression - as we tried to point out that - is reflected at the level of discourse Ktsna, and Kzachrv to format destroys the relationship of the same the same, and if, in other words, is reflected as a way to confirm the presence of a force on the Tcommi or Antvaúh through the return of the final to side of the congruence, or integration with the self, or the presence of ontological essential; If the concept of speech as well, it is obvious that the technique of improvisation in the theater presents itself as an opportunity is excellent, and even beyond that as a way true to the return of this kind, so far as declaring itself rebellion for the main text, and such as freedom of achievement for the teachings of a vision, and Kenzoh body of speakers, or speakers violates the law of writing, mainly Kkotaiah impulsive primitive with each system is given to the signals. and so we understand the role of ideological public role of the technology or the exercise within the scope of practice and letters of contemporary physical expression that went to the man in the street and the mundane, as is addressed to the actor and activated the future".
We can not, therefore, to imagine the existence of an improvisational exercise of this dimension in the context of theater is the first Arab obsession experimentation that made this practice remains hostage to the text frame theatrical basis.
Whether it's format or improvised form of collective authorship, the goal is to keep testing new ways of writing contributes to the Representative, as in the first version, and supported by the viewer as in the second version. Thus, the form of text-based Arab theatrical improvisation on the basis of the other pillar of the practice Almitamsrahih pilot.
We can represent this association between the Almitamsarh and improvisation Arab Bnmozgen: Excellence, one crystallizing experience improvised a model Mohamed Alcgat through play "improvised new", while the second try to establish the experience of the authoring team improvised a Walid loyalty to through the play "How wonderful that they are watching."
التسميات
education