The "clash of theaters," reflects the dynamism of the western theater is unclear, and the intended dynamic here is that interaction between the monetary issues, theory and creativity within the imagined theatrical playwright himself, and the issues of reality and the Western man in general.
If the formula of "conflict" reflects the appearance of the speech Almitamsrahi The controversial in the West, it expresses, on the other hand, a tendency of western theater from its earliest days to the democratization of Démocratisation Intellectual and aesthetic values, and that by making it the subject of a gap, trading and controversy, conflict and trial before the eyes and ears of the public, and therefore from the people.
I have taken "conflict theaters," Aspects of the nature of Ommeltha different historical and cultural contexts on the one hand, and beliefs of creative playwrights and artistic and intellectual attitudes of the other. In "The Frogs", we find a conflict between the two models of Greek tragedy, and in "impromptu of Versailles," we find a conflict between the two directions in the representation of comedy, one more inclined towards farce, and in "improvised Paris," we encounter a conflict between the theater literature is based on the ethics of language is set, and the theater is open to oral too much, then in the "impromptu pain" in the face of note between the two letters, one Nkadian creativity and epic and the other is absurd.
The "clash of theaters" different formula on the principle of disruption and construction, which undermine the theater the other values, principles and mechanisms, in order to build a theater of the self. This principle was established on the different strategies adopted text character parodies or adopted technical double play or invested prospects intertextuality.
Has been formulated by the "clash of theaters" - qualitatively - the various templates Darmah Kalcolmadia in the classical form for Erstovan, and in its orientation towards farce for Molière. If Giraudo has been adopted drama satire to achieve its dual purpose of drafting the text celebrates the "literary language" without sin target cash at the "oral stage", the UNESCO chose the formula farce, tragedy, a formula that spawned the situation new play based on the bombing of the foreseeable classical types drama, and the combination of tragic and comic in line with the so-called black laughter in the theater of the absurd.
If the "clash of theaters" has been drafted through the text structures and different quality, the parallel discourse Almitamsrahi her speech was not necessary, that is limited to the structures of the play, but turned to the formulation of different views about the age and the reality and rights. So, we note that most of the speeches taken a political dimension, either locally (Erstovan), or nationally (Molière and Giraudoux) or human (UNESCO). Perhaps this is a clear reflection of the openness of Almitamsarh in the western theater history.
