As noted above, some models the whole play, which both Victor Hugo and Andre and Jean-good Ricardo, to being the embodiment of the cavity, and especially the comedy scene in the play "Hamlet" by Shakespeare.A sign that the possibility of talking about the kind of cavity, the cavity we call the theater here.
Given the property of theatrical storytelling in the text, we can say that the manifestations of the cavity, which talked about Dlenbach for text novelist, for investment in the field of theater, but it requires a flexible discourse. The text does not tell the theater through the narrator, but tells the relay directly through dramatic acts. This is in addition to the fact that in the theater is of utter privacy makes it a compound, or rather make it a double Tlfeza.
Perhaps the most prominent appearance of the cavity theater is the theater within the theater, which confirms one of the studies that "Of all the cavities literature, the theater within the theater is raised, without a doubt, more attractive, both in professional theater, the specialists in thinking about the theater". If we, indeed, the history of the theater, we will notice that its roots back to the Baroque period and to play some of the models for each of Calderon and Shakespeare, as we will notice that culminated with the dramatic Italian Berandelo that made him an aesthetic translates the vision is based on the philosophical concept of relativity.
If we go back to thinking about the theoretical stage, we will discover that the theater within the theater captured the attention of students from two angles: first lattice considered a Baltmsarh associated asserting that it constitutes double Tmsarha Théâtralité Double . In this context, falls to imagine that Oobersfield, which says that the function lies in the fact that he says: "A - We are in the theater, and space - the theater space inside the larger is the place Showing Dramatizing. B - what is offered to us by the channel reflected the truth". The second corner, adds to this dimension of poetic philosophical dimension in particular, and considers it a manifestation Mitamsarhaa embodies the ideal form of so-called theater or a contemplative thinker, Le Théâtre réfléchi , As is the case with Manfred Manfred Schmeling Chmilng He knew by saying: "The scene inside the theater - in its ideal - a built-in Dramamaana, is available on the space where Alrkahi private and Kronologith distinct, are founded with the synchronization of space and time frame of two frames Alrkahi and Daramatorgi. The theater within theater elements of training multi-reproduce elements of Total".
Accordingly, the scene inside the theater is a structure Gaúah and scenic double built-in structure is the largest structure of the play. In other words, this procedure is based on bilateral Altjoafa is essential in the presence of inclusive play and other built-in. And there could be a mismatch between the representatives of Almsarhatin or not, as it may be wholly or partially match. But most important is that whatever the style or shape that is achieved through it inside the theater stage, the What Happens to the follicle is based on two basic principles in literary cavity: the multiplier and the contemplative.
Furthermore on the stage inside the theater, can be found, "variations of the cavities play does not show in the second level art form, but was a dream - as is the case in the play" Life is a Dream "for Calderon - the doubling of reality theater by successive undreamed or imagined" .. This procedure, as it embodies the look Thompsrahia, as it reflects the perspective of metaphysics - as is the case with Calderon - where it is to look at life as a dream.
And whether the cavity theatrical form of a play double or successive imagined embodied in the form of a dream, what should be recorded is that these manifestations Almitamsrahih is to confer on the cavity in the text theatrical kind of privacy, particularly as it takes into account along with the dimension Gaii, far more an expression of This Privacy Policy is after Dramatizing based on the double play as a means to create a special framework for self-reflection in the theater.
