"Frogs" or "conflict of tragedies" in the theater.. Create new conditions for the receipt of the absence without thinking in terms of production and receive the kind of tragedy that is seriously dedicated and ethical values ​​in a specific political community

Is the play "The Frogs" pursuant to Erstovan Mitamsarhaa leading owner Bois privileged position in the history of Western drama writing. The Tzafart different factors to highlight this leadership led by the characteristics of the personality of the author himself that we see here a primary key to understanding the structure and function Almitamsarh in this play. In this context stresses Michel Quervain Michel Corvin That "the status of Erstovan (450/388 BC). In the history of comedy is unique: it is, at the same time, the author comedian first major in the Western world, in addition to being together in his person the characteristics and trends can not be found together at all in a one-man : it interacts with the current social, moral and political, which has a decisive stand it embodied through parody and satire,

It also serves as the representative of the sex of the most popular Bhazelah creativity and obscenity of his language and his toys play, in addition to that, also a poet Bgenaúah sections performed from thermoplastic choir and the imagination oral inexhaustible and, finally, is a hiatus from the writing itself, the manner employed by the code user and the tropes achieved".

These various dimensions of the components of the personal drama written Erstovan make an outstanding example of the interaction between literary and political, and perhaps this is the same property that made ​​some students living relationship between political context and the structures of literary comedy in Erstovan.Fsharl Moron Charles Mauron , For example, distinguishes what he called such modalities in the comedy of the man between the two sets of business, and in light of the influence exercised by political events on the creativity of the play. The first group plays, including "peace" is characterized by a kind of historical and cultural unit is located between the victory of Pylos Pylos And peace of Nicias Nesias ; Infrastructure is the spelling. The second group that fall, including the play "The Frogs", include political events seriously he says Moron: "The Erstovan - launch of the fact - since the" birds "even" Blotos, "he likes a series of forms of escape including: Political Dreams (birds and Isestruta), Khialat literary (Birthdays diameter ThesmophoriesAnd frogs), and finally social Autobaat (Conference women and Blotos)".

Notes, then, that the "frogs" within the group the most interaction with the political reality of Athens in the age of Erstovan, because it embodies the distinctive way in dealing with this reality is the flight to literary fantasies. In other words we can say : The frog gives us a vision of poetry for political Rahenha.

These data have Asthoudrna tribal because we see it in how they controlled the Tibnin Meta Theatre in "The Frogs" Gaúaa, and Modoatia, and also qualitatively, it is also sent his job at the direction of what is aesthetic and ideological, in that one.

Composed the play "The Frogs" of two great: the first of which includes the descent of Dionysus to hell, and is characterized by a prominent character comedy. The second section contains a dialogue, competition, or rather a strong argument in character between the literary and political Trajidiin two poets Aeschylus and Auribides who compete on the throne of tragedy. This section is an important part within the structure of this action comedy is usually called a Palmsaglh gon.

The revelation of god Dionysus theater to hell is to search for "a poet deftly" Unable to say a word courage, in the era of the book were missing a big tragedy. So is all of Aeschylus and Auibides that income - by virtue of a law on the arts, which occupies the major capabilities of the mind - in the face of them, the focus of Dionysus, who will attend the competition between them crowned by choosing one for the Rescue of Athens.He notes that, indeed, that the competition between the poets will take the second part of the play as a whole will move from competition to name-calling about the tragedy and the associated language, and a tragic atmosphere, characters and models of human and introductions and songs. In the face of Dionysus puzzled to choose between the poets on the basis of this duel artistic, literary, tell them to move to the face of ideological and political in nature where they are asked their opinion in Athens Bankad means the status of political fragmentation, so the victory of Aeschylus in the end.

The event in the play "The Frogs", then, is articulated into two parts, one to the second is the supervision over the preparation for the atmosphere and attempt to put the receiver in the context of the confrontation that will take place between the poets Trajidiin. "The first part is very funny, and unique character of irresistible comedy, directed spectators to laugh and create the mood to focus their attention on the second part, ie, the real subject of the play".

It is noticeable that the characters that make the event in the second part of the nature of the play, including the gods and poets Trajedion, and the center of a conflict of attitudes and discourses among them is the tragedy with all its components and their characteristics.

So, the inventory of a brief to the various issues tragedy that wrestling around Aeschylus and Auribides, would confirm the nature of literary themes of the play, to the extent that some people considered it as a "play the most literary, perhaps, in the history of comedy the whole." We believe that this provision is supported in view of the resort to play a prominent Mitamsarha is the thematic self Autothématisme .

Simply argue transmitted between the poets of the tragic issue of language to shape, and then to the moral and political values. One manifestation of sharpness in the debate, which took place between the poets on the issue of introductions Prologues Tragic:

"Auribides: (for Aeschylus) I want, then, to attack the same Mekdmatk ... lack of clarity in the presentation of events.

Dionysus: What do you prefer?

Auribides: a very large number. I reviewed the first introduction to the play "Orsts".

When Aeschylus review this introduction, confirms Auribides of Dionysus it contains more than a dozen, including the frequency error and contradiction. And stresses, in contrast, that he respected the rules in writing the premise.

Perhaps this is what raises the attention in the play is that Erstovan took advantage of this literary debate about the tragedy to pass his own self and his speeches on the stage, and therefore on ways to Rescue of Athens. This seems clear from the investment component Comedy is what is known primarily direct speechParabase , Where is called the San Alkurevi Coryphée Calls for unity and equality among citizens. This procedure is what made ​​Charles Moron seen in "The Frogs" a framework which meets the author's personal myth of collective myth of the city; has helped the quality of the play structure on the achievement of this meeting, especially as they comic drama form and content.

In terms of shape, we find the components of the comedy classic, especially the ones: Mid word association and direct discourse. In terms of content, Fasthoudar Erstovan the subject of tragedy was intended to achieve a fundamental requirement in the comedy is the parody of the kind hard and makes a mockery of divine myths which underpin it. It seems that the interventions of the choir or Alkurevi in the conflict between rival poets, translated clearly this irony, as also reflected in comments Kzanthias server Dionysus.When you decide to use, for example to put in the balance of tragedy, it was suggested this server Mstarat evoke frames and rectangular dimensions, and then commented:

"Kzanthias: Sasnon Agra, then."

Such comments are consistent and the cynical nature of the perfect stage performance criticism that he says Jacques Nishi: "The criticism comes from the theater teaches us, above all, lack of respect". No disrespect here is of a moral nature, but is consistent with the concept of an aesthetic nature of the parodies that take the test all forms of sublimation and serious expression, especially including those that emerged from the tragedy as a form based on the serious moral and political values ​​is selected.

The interesting thing in "The Frogs" - as a comedy ironic - is that they put all the things the world the subject of laughter and derision, including the city Btqosha and its institutions and occupations, and public affairs, nature Basmaúha, land, sea and the creatures, which makes it turn into an open field "of the absurdity of childish", or to a "big joke", suggesting Erstovan poetic alternative to the Rescue of the city, similar in its simplicity, simplicity of childish games.

And seem to play this course a prominent feature in the language which he wrote his play Erstovan, saluting the mix sounds Simulator Onomatopés Of frogs, linguistic paradoxes (Dionysus is described as being a small giant Molon), and satirical dialogues that address the subject of a serious kind of absurdity and vulgarity.

The Monetary perfect stage performance in "frog" has been found in the structures and thematic Gaúah, quality and language can help him to achieve the exercise of new cash express - by Nishi - a clear will to create a new form of exercise of the play itself.

When we look, indeed, the site of "frogs" in the repertoire Erstovan, we note that they are tissue is unique, and can be explained by the fact that this play embodies a moment of reflection dictated by political conditions and specific cultural required men carded his poetic about the tragedy in their relationship by Athens at the time.

The play "The Frogs" turning Lallah theater to clown, and snorts with derision kind of hard, operate as a breach or double supercontinent, especially cash and perfect stage performance which is based on the dimensions of the aesthetic and ideological at the same time. Valmsarhah, from this angle, moving in the direction as confirmed by Nishi when he said that "criticism of the theater within the theater fracture organization which aligns the scene with another theater, one ideology with another, and the joy of living with others, which means that the supercontinent has been achieved".

If the components of displacement has embodied the aesthetic Gaúaa through conflict Trajidiin poets, and by invoking the Modoatia and dramatization issues tragedy, qualitatively and invest all the power of satirical comedy, the ideological displacement requires evoke the reality of Athens to accommodate its manifestations and dimensions.

We have previously noted, that Erstovan man interacts with the current political and social. If we go back to the reality of Athens during the fifth century BC, we note that it suffered from a lack of political stability, so that a layer cake of four governments in the Sea of five years, and on the brink of ruin by the war and revolutions successive conflict groups and harsh judgments of citizens reached the limit of exile. With this reality in the troubled, he found himself Erstovan, from intellectual-reactive with the police of the historic, forced to propose a solution or alternative to this situation. Then, came the play "The Frogs" is a poetic formulation of a political alternative.

Through the irony of the tragedy, try to destroy Erstovan way in which the representation of rights in this kind hard. For this, was beaten to the concept of tragic or heroic, because Athens did not inherit nothing but conflict, power and violence that led to its destruction. In this context, it is noted that the search for Dionysus poet skilled and courageous, is in a sincere search for the truth of this situation is already fragmented. So, no wonder that we find Alkurevi - the mouthpiece of the author - calls for unity and rejection of the dispute, and that be the deciding factor in choosing Dionysus is the alternative proposed by the political poets.

All these facts confirm that the Almitamsarh in "The Frogs", can be interpreted, at least, from three different angles: historical, psychological and aesthetic; and each unit of which is in the other by necessity.

It is the historical angle, the play tied Bzmnha, and tragedy is a dramatization dramatization of the reality of Athens in the difficult period we explained earlier specifications. Perhaps that's what makes the perfect stage performance criticism of a political nature. Verstovan - from his Kmsarha - tried to rescue the city adopt a surprise play Coup de théâtre Aeschylus was the return of showing that "Erstovan wanted to save the policy by the poetic". This alternative poetic interpreted by resorting to laughter and ridicule by Charles Moron, or the use of fantasy Fantaisie By Michel Quervain.

The elements of play and imagination, which is added to Almitamsarh politicized in "The Frogs" is a psychological dimension to the conflict who lived by the pleasure principle and the principle really nice compressor, which tried to resolve it with laughter and ridicule as the two types of "Rescue childish."

As long as the ultimate goal for Erstovan is a community Athenian, the theatrical work through parody and the politicization of discourse Almitamsrahi to destabilize the Iqiniat recipient, and urged him to participate in a "mass trial" of the values ​​of poetry and the specific political, and thus to try the same in the end.Valmsarhah, therefore, tend to create a new recipient is subject to the new education. So, no wonder that we find Pluto translates this trend at the end of the play, saying:

"Pluto: (accompanied by a return of Dionysus and Aeschylus)

Come on, Aeschylus, count happy and saved the sound views of our city.

I work on the breeding morons, they are Gehfla".

The interpretive function of Mitamsarh in "frogs manifests itself, then, by creating new conditions for the receipt, to be absent without thinking in terms of production and receive the type of tragedy is a serious devoted moral and political values ​​specified in the Greek society.

In summary, the play "The Frogs" notable example of what we called earlier the "work of confrontationOeuvre de combat , "Established Erstovan its conflictive basic principle is: The struggle of tragedies is a struggle my hair with the dimensions of political and ideological. Accordingly, he chose a different entreaties text appropriate to translate this principle, using the Mid word association, comedy and parody of the kind hard and create a juxtaposition between the two types of production and reception playwrights . All of these actions has diverted Almitamsarh elaborated how the "frogs" to the vision of the world dream of Athenian society based on unity and harmony and political stability.