The establishment of interpretive poetry Meta Theatre.. The thinking about the theory of poetry is a restaurant on the observations of existing business remains sterile and non-procedural

What can be deduced Of these data is that the interest in the American context Balmitamsarh was metaphysical angle, while the controlled approach in the context of the French text. However, it is noted that the nature of the choices the methodology in these studies may have resulted, in most cases, to isolate the internal appearance of the phenomenon of external appearance, and the case that the manifestations of the text of the Mitamsarh - in our view - can not be understood and interpreted only in light of the perspectives of the authors about the world and things.
  Then, we see that the overall briefing Various dimensions of the phenomenon require the building of a theoretical take sides in   Hermeneutical and poetic words, one requires the establishment of interpretive poetry Mitamsarh. But we, in the beginning, to make it clear that choice theory of standing at each end, the "poetic" and "interpretive."
 With respect to the concept of poetic, do not want to dwell on the various definitions traded him in the writings of contemporary monetary, baptize, but to evoke one of them because it suffice for us. Say the authors of "Dictionary Encyclopedic Science Language": "The term" poetic ", as we have come across the tradition, refers first to the whole theory Mahith of literature, as applicable, second, a check carried out by the author of all the potential of literature (at the level of subjects, composition, style ... etc.). Kcharih Hugo for example, transmit, Third, the normative institution of Sunan born literary school, ie a set of practical rules becomes, therefore, their use is necessary. ".
  It follows from this definition that there are two tracks in poetry: one year, and the building of a general theory Mahith, and the second is associated with a special selection done by the author as part of the potential offered by the theory. The two tracks are complementary and do not particularly identify laws or general principles of the literary phenomenon should be done from within the literary work itself. Perhaps this is confirmed by one of the leaders of the structural poetry Tzfatan Todorov, while focused on the need to poetic interpretation, saying: "The thinking on the theory of poetry is a restaurant on the observations of the existing business remains sterile and non-procedural.".
   Such an approach dual lattice is very important for the context of theater as we speak, especially since the word "poetry" is no longer linked dictionary critics and theorists, but also become a strong link even authors, as indicated in the Jean-Pierre Sarazak Jean Pierre Sarrazac Who believes that "this" poetry "created by dramatists experimentally through the diversity of their business, and scientists working on the beauty of the stage and give it the meaning of the formulation of years" theory.
  The hermeneutical dimension in this poetry is associated, then, of choices made ​​by an author within the literary possibilities available in the phenomenon; which in turn depend on the choices that the author of this vision to the world around him and the times in which live interactions.
   In light of this interpretive poetic vision, we see that the briefing   Almitamsarh the subject should take into account the following aspects:
1 - Setting Almitamsarh lattice in a broader context is the poetry of the literary text, a situation which allows for a fundamental requirement is to look at Almitamsarh in light of the central concepts are: AlmitanasihMétatextualité Cavity and literary Mise en Abyme   Littéraire.
2 - definition of the term Almitamsarh and determine its structure and functions.                   
3 - to stand on the various choices made ​​by the authors playwrights in the context of this phenomenon by highlighting its manifestations in their work and their experiences. The goal of this process is to determine the specificities of dealing with the experiences of Almitamsarh Western and Arab alike, in order to achieve the overall objective of this research and of building a general theory of Mitamsarh in the light of the actual checks of this phenomenon throughout the history of theatrical practice.