Meta Theatre has enabled us to put in the context of poetic drama kind of disclosure of the relationship between this procedure and between species and serious drama (tragedy) and Alhazelh (comedy, parody and Turagiuomidea). A relationship investing, clearly, the climate prevailing in this or that kind of practice makes Almitamsrahih are adapted to this climate, and benefit from the components and characteristics of each type.
In tragedy, opens Almitamsarh horizon to break the double play rhythm that goes by the tragic event, and open to the author of a margin to include the specific position or idea conceived for the stage.
In comedy, it becomes hard Almitamsarh is the face - so to speak - to laugh, because it turns into a monetary expression of the vision contained in this laughter. In Turagiuomidea,
Almitamsarh become destructive to the practice of the concept of gender and ideology inside him.
In this same appearance is found in the parody, but in a different way based primarily on the creation of a collision between the two texts, it becomes ridiculous, one from the other kind of ridiculous, and thus the pattern of literary and social in general.
That evoke this Alataralnoaa during contact with the various manifestations of Mitamsarh both in the western theater or in the Arab theater, a fundamental issue Can not evade them.
التسميات
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