La Paz from the reference, first, that Mohammed Alcgat is a leading experimental playwrights Arabs.Characterized by invoking his experience on the background knowledge and make it an aesthetic looking, and thinking, and constantly renews its tools. Perhaps what helped him on that being an author and a way out, researchers and representatives of theater. This has opened a multi vast prospects for dealing with the phenomenon play a kind of inclusiveness and diversity at the same time. Its experience has attracted different types of writing, and watching the result of a play dealing with the sources of various Arab and Western. Moreover, Vancgalh in academic research components of the phenomenon, the play has helped him to achieve the accumulation of knowledge in the aspects of his personality that serve Kmsarha. And follower of Mohammed Alcgat repertoire, it must disclose that interest Baldramatorgia is in this direction,
Where the notes how to make them an essential tool for creating and generating the manifestations Dramatizing in the text and offer playwrights alike.
All these facts contributed to the deepening of research, and consolidate the tendency of the experimental and has led him to discover some prospects to ensure the renewal of Arab theatrical phenomenon, including the prospect of improvisation L'Improvisation , Where almost his experience in the writing of "improvised" the first of its kind in the path of Arab theater. If we exclude Snoa Jacob, who wrote an impromptu did not dare to call it so, as we explained when we stand on the play "Molière Egypt and profoundly regret."Perhaps fueling the Alcgat leadership in this aspect, is written as a three-Trilogie - Such as three-Berandelo - included three Mrtglat are "improvised new", "Mrtljh Fez" and then "improvised Federation of Municipalities Lalla," through which the position of some of the thorny issues that afflict the our theater Arab, and formulated through their own perspective about the theater as an art dedicated to human service issues.
I've tried to put Mohammed Alcgat Mrtglth in the introduction to the first and the second by EE "Moroccan theater between improvisation and improvised,"'s own concept of improvised and the reasons which led him to experience the writing of this kind. Says: "Because our theater is suffering from all kinds of difficulties and obstacles, have resorted to writing improvised in order to put before the public, and after it became clear to me that talking about problems is not Kmaistha or vision embodied .. and resorted to" improvised new "to the ridicule and laughter, and amplify attitudes in order for me to create what is known as black comedy, was exaggerated in this melancholy comedy, Of an asset not to be of concern to laugh, but that the concern for increased if only became funny, and that thing if exceeded only turned to him, and that if whiteness became intensified Prusa".
Alcgat give us, through this to say, soft keys to understanding the Mrtglth; one on their content of the difficulties experienced by Moroccan theater, and the second form, or rather a qualitative Batarha black comedy.
To show how invested the improvisation in the play, says: "The experience of improvised on an important component of the elements that have been currents of contemporary theater calls it, is the involvement of representatives in writing ... We are not here to form a traditional group, or directing a laboratory written by residents one person, as the experience to write each representative Mashahda first, and then revised during the exercises and continues to this revision after every show, and that a change of a representative calls for a change of scenery to which it relates, and every scene imposes his own, and that much of the freedom left representatives during the preparation of the offer to contribute their creativity in the output, in addition to scenes of improvised not written before they underwent training, which, however, are widening, and improvise a new by the public response, and the response of the representatives of the heat of the moment the play created by the display".
Seen from this statement, we are facing a new experience in writing contrary to prevalent in the Arab theater. The latter deal with the phenomenon has been the play, often, under what he called Cousin Tadeusz Tadeusz Kowzan Palmqarbh literary, which sees that the transition from text to text oral is the best way to convert a literary phenomenon to the phenomenon of Faragoah.
But what Alcgat shown here, is contrary to this trend, because the supply Hoalve become a source of the text and not vice versa. This position makes it engages in the context of some contemporary Western theatrical currents, particularly those that boat way out a prominent place, and emphasized that "Dramatizing exists in everything," and that sense the text is not only one of many bases. The Cousin, in this context, different models for each of Erwin Piscator Erwin Piscator The theater district Living theatre The Amphitheatre Open theatre And Jerzy Grotowski Jerzy Krotvska , Where it comes with all these "innovative and text written by Altdraab; he does not find the text of an oral form of the written (which is not good sometimes), but when watching the progress of the public".
The "improvised new" engage in the context of this approach, which was considered as the last horizon of a pilot in the Arab theater. Constitute the text and Anbthaqh to view prepared by representatives and wrote some of the watch on the one hand, and the emphasis on openness and its ability to re-write after every new offer on the other; all that marks the Almenza experimental formula improvised, and the desire of the owner in attracting some of the features of modern theater in the West.
If the "Tmsarha each subject has its own", as seen Katie Armand Armand Gatti, one of the most prominent contemporary experimental theater, the Alcgat emphasizes the relationship between subject and form Msarhth perfect stage performance.
Thus, the development of the position of the Moroccan stage hardships imposed on him, necessarily, choose a template more suited to a theater that is "improvised," and the formula of quality is more efficient " Black comedy. "The establishment of the experience Khath Baltmsarh on the basis of awareness, that makes" improvised new "text to re-open a viable production parallel with the change of terms of receiving. Perhaps this is fueling the appearance of the modernist experiment.
And to complete visualization provided by the Alcgat for Mrtglth, it reveals the mainstay ideology that assigned this Altsouraljamali, where he says: "Perhaps the most important features of improvised new that it inspired" template "improvised in order to search for a new template with which to launch humanitarian issues, and presentation of human rights".
If we look at these intentions in light of some perceptions of man, we can consider as reflected Alcgat here trying to make the Arab theater engages in the context of the culture of modernity, especially as this culture known as "giving the value of the human central theoretical and practical".
If we know that "improvised new" shed light on some of the negative components - e public - and psychological In particular - in humans, we can say that the experience Alcgat tend to contact with some ironic big of modernity, especially as "the great paradox in the perception of thought modernity of man is that when making human resource center for consideration and action and is credited with the mind clear, and free will, and effectiveness of knowledge and history, is at the same time, clearly reveals the infrastructure and components for organic and psychological determinants and motivations of the primary (sex, aggression, search for profit, nutrition ..)".
In this context, we believe that Alcgat tried to highlight, through Mrtglth, the junctions and the dual nature of man, through the behaviors and attitudes of his characters, letters, especially from authoritarian models.
The data aesthetic and ideological disclosed Alcgat gives us in his introduction illuminations important for understanding speech Almitamsrahi and ways of approaching the diagnosis Modoatia, morphologically and qualitatively.
Provide "a new improvised" itself to the reader as a "theatrical project"; and as such means that the strategy of improvisation is that control of the final status of the text, by making it depend on the offers and the degree of response to the public. Therefore, the text at hand is only one possibility, or checkConcrétisation Initial - the language of aesthetic reception - within a series of checks and possible changing climate conditions of the offer. It is noticeable that the text of "improvised new" component of the scenes of fixed and variable to make it capable of being updated.
In the Introduction Prologue The play, the author says: "I wrote these improvised after a series of articles addressed to the shed and the prosecution on the stage .. and the output is in parallel to form exactly as written position that takes into account the authorized viewer and the same at the same date, was co-authored all representatives: there are scenes of the author of the director, There are scenes written by actors, and there are scenes will spur of the moment before you". To emphasize that permeate the play text instructions refer to these types of scenes in context. Of, for example, "this scene Artgelh representatives at the start of training camps and then wrote all his dialogue under the guidance of the representative director .. The improvisational scene that comes after this is not installed here, it is dependent on exercises without the written .. and what is installed here is a copy of the improvisation, which was in the offered 29 - 06-87 Batha Museum in Fez".
This signals to us the text is full of gaps Troué , Is incomplete, its relationship to the offer and not Achtratih as it is a Arthanah, too, which makes the game play is open to the recipient to perform its role in filling Vjuatha. The exposure of the game the one hand, and carrying on the basis of improvisation on the other hand, afforded an appropriate platform for enriching practice both in the level of Almitamsrahih Allobei or cash.
Centered "improvised new" placed on the essential: the domination in the field of theater. This is reflected through the structure Chkusih attract this property in relation to the various parties involved in the production and reception playwrights: the author, director, actor and critic. Notes that the names of these, in the improvised, preceded as "authoritarian." This is given direct and explicit understanding that the bullying was that it became a maximum degree is the basis of personal and identity play is the branch. Or other words that the recipe author or director or critic is merely a channel for a given discharge is a former domination.
In order to shed light on the Tmzarat bullying in the play, by focusing on behaviors, attitudes and letters issued by the authoritarian models mentioned. At first blush, reveal improvised on the ignorance of some of the technical theater, and by reference to the movement that they do on stage, which meant "to show the chaos that accompanies the work of technicians, especially when the motivation is to conceal their ignorance of technology, theater under the guise of shouting and screaming and chanting some terms the tree". The start of this signal indicates that the Alcgat improvised consciously wrote the director who is well aware of the manifestations of authoritarianism in the theater, even in the most accurate technical positions. It begins with these features as a bridge to cross to uncover the explicit domination embodied in three figures, namely: the author authoritarian, autocratic and authoritarian director critic. Adversarial attitudes of those from the text of the theatrical in nature and themes, language, and relations of the author the director, and the concept of exchange, reveal ignorance and clear rules of the game play and shed on Aoualemha.
In the framework of the agreement on the nature of the text, for example, says the author of the authoritarian authoritarian Director:
"Authoritarian Author: _khask understand me ... we are Magadec Nderomsarhah of the kind that Kidkhallosh Old people, McCain, Mr. Naama is Altkaakia .. and Altkrdes, and Alchkulaib Alrkia .. and .. and .. Altkomik even keep the public cry ... Baltkumik Khlina from Arabic .. classic, poetry, and history Alhdor .. .. .. and Heritage and the event is Bnadm Vemo Mavahm and USA. as a condition on what is Cayenne and Altkomik Altkaakia ..".
What it reveals the author a letter here from a shortcut to the theater in Zaniness with the express words of the vulgar slang, and denial of the importance of carded hair, history or heritage, and the importance of classical Arabic. All of this is a manifestation of the shed on the art of a noble and bright on some manifestations in our context of Morocco.
Valmertgelh reflect, then, misunderstandings prevailing in the theater between the Moroccan workers in his field, which is considered by some to laugh the public is the ultimate goal for the theater. So, are resorting to the shortest route to achieve this (Altkaakia, Altkrdes, Alchkulaib, Alrkia, Altkomik; as stated in the letter of the authoritarian author). On the other hand we see that the attempts that are bright to devote a gap based on the values of knowledge and aesthetic (dramatization history, heritage, interest in Arabic) is often judged as acts of vague Twas - Les.
The "improvised new" embodies all of these signals through the "clash of theaters" as it is revolving in the context of Moroccan theater. It is noticeable that the master of perspective is the perspective of the author - on the way out of this conflict directly, is Alcgat himself as a theatrical scene-makers in Morocco. Perhaps what makes this interpretation is the form present in the play as the antithesis of the shed, which represents the personality of "theatrical."
Personal choice of this name in the improvised moves in the direction of holistic understanding of the phenomenon of play Alcgat born the same, especially as we noted at the outset to being an author, director and actor. And regard this character as a real alternative for the manifestations of authoritarianism, both in Almaav or director, has to do with the nature of the aesthetic and ideological awareness that underpins practice. In this context, it is noted that the involvement of "theater" in the events characterized Bahaaria manners and speech, and translated this idyllic aware of the terms of art designed to improve the public taste, and the embodiment of human rights. Then, we can say that the personality of "theater" is the mouthpiece of Alcgat Mrtglth himself in, because it crystallized intentions announced in his introduction and for the role of theater in man's inhumanity to install:
"Theatre: for I see art in its relation to man.
Because I want to address the human rights.
Because I see a bridge up the stage rights of man ... "
The character of "theater" is, therefore, to undermine the authoritarian speech to assess his place human speech is based on the technical awareness of the public believes in the role in ridding the stage of power.And repulsion of these two letters in the improvised turning it into a "work face Oeuvre de combat "Reflects the contrast between Allamsrahi and theatrical, and thus between the inhuman and humanitarian. And the introduction of the public in this confrontation turns improvised to" trial directly, "plays the role of government. And stands for" improvised new "in this specification, parallel Almertjlat Bank, which is based on" conflict theaters, "and runs the cash the eyes and ears of the public.
Given the practice offered comic potential of cash, the Alcgat - given to the formula adopted by the vulgar "conflict theaters" in our context Moroccan - Choose black comedy template to develop a position on this conflict, and oppression caused. For this, note that the improvised full of cynical attitudes and behavior language.
Valchksaat authoritarian is drawn in a caricature (authoritarian author holds little giant and the package of papers in the volume of securities newspapers and lie down on his stomach between the jaws of a ladder and writes), and the dialogues are full of rhetoric minted Ready Allamvkr where, not to mention the emergence of the so-called psychotropic absurd Effets d'absurde In the language of dialogue, including in particular what he calls Altdaulion banally words banalisation des propos , As in the following dialogue:
"Authoritarian Author: sitting on sitting on the ... ...
Authoritarian Director: on the chair ...
Authoritarian Author: No
Authoritarian Director: on his stomach
Authoritarian Author: No
Authoritarian director: the head
Authoritarian Author: Ah .. Sitting at the Hall of ...".
And also playing with words in a rhythmic dialogue make evolve on the basis of signifier and signified is not, as in the theater of the absurd dialogues, for example, repeating the words
(Say what .. Icolh) between the three authoritarian figures.
It follows from the foregoing that Muhammad Alcgat launched the Mitamsarh Arab framework aesthetically clear it engaged in the accumulation achieved by the western theater, and the formulation of the work is, well, Specifications, "improvised" and attracts structures open to the same author, on the one hand, and the reality on the other. In order to develop "work face" than are the nearby shed light on the "clash of theaters," or rather the "clash of playwrights" We have, and its purpose remote emphasis on human rights.
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