The link Almitamsarh Pastratejh experimentation in the text Arabic theater, you may make the playwright Arab is better able to represent the poetic drama of Western and discuss its basic principles and provide a picture of a special them, and make it on the other hand, opens new horizons for writing drama through which conditioning methods aesthetic heritage with context imposed by the modernist practice Almitamsrahih.
The three strategies that engaged the text of the Arab theater created a new dynamic which exceeded the level of testing text structures to reach the level of ambition to contribute to the accumulation achieved by the poetry scene in the West. This may create a Mhaitha a new tradition of theatrical text, Represented in the dialogue capillaries classic (Maghout and poetry of Aristotle in the form Shakespearean) or modern (Rashid and poetry Berandelo then Alcgat and poetic absurd), with an attempt to fit with the special issues spawned Arab theater and was required to formulate a clear position, including: the relationship with the stage of history, and the relationship of theater receiver the Arab. It also represents this tradition, on the other hand, the production of capillaries in an attempt to self-Mga, through a built heritage Kalasttarad, inclusion, and representation and symmetry, and serve as a framework for diagnosis and meditation at the same time.
It was natural that this approach will allow the diversification of experimental practices Almitamsrahih open to allow all possible structures and in particular: the double play, intertextuality, parody, and the multiplicity of narrative perspectives. This Moish with the desire to develop methods of writing the play itself, both in terms of production, where we noticed Astosmaralavq unprepared and try to develop the so-called "speech director" in the text the Arab theater, and the drafting of the features of the "clash of Theaters "on the way in Arabic, or from the point of receipt, with a focus on game play and revealed that in order to create a new tradition involving the public in the industry, watching and thinking at the same time.
This awareness of the need to develop methods have resulted in dramatic writing, therefore, the quality of new templates based on a review of the types of classical and dramatic practice Almitamsrahih rid of some of the windows of quality set by the Bank and especially poetry, including: tragedy and comedy. The text takes the Arab theater of these species Some of their components but do not remain humble quality depends on the structure in the Western tradition. Then, the text can not the Arab experimental theater and feature names or Kturagidea comedy, because it presents itself, in most cases, as "an act of open Oeuvre ouverte "So to speak.
In line with this openness, this text is trying to establish meditative thought and the tendency of Marawi make it in the style of writing and reflection of this method at the same time. So, do not be surprised frequency mechanism disruption and construction in relation to the forms drama in most of the texts we have studied, as long as this mechanism has made the playwright Arab looks at his experience of the home and develop perceptions about writing across the parallel texts of the text theatrical sequence composition and telling the story of the path of formation and determine, in a way creative, different basic principles of the poetic.
What was the playwright to realize that the Arab had it not been on the field of interest mainly to the issue of "imagined" because the thinking in this aspect to make the Arab playwriting become more knowledge, and thus establish strong bridges with the various human sciences. Perhaps this approach is the one who found the writing of the cocoon of the misconception of "rooting" and make it into modernity, the play of the door wide.
As long as the principle of reality is a tributary of a key tributary to writing, he tried the text theatrical Arab create a kind of convenience between structure Almitamsrahih and vision carried by this structure, Valmitamsarh for, by the playwright Arab, not a formality and as it is a vision of reality as well, this vision that we have seen it oscillates between the three dimensions are: national, national and humanitarian law.
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