Often considered the intellectual forms of Les Formes réfléchies , And including Almitamsarh, cut off the roots and forms of touch with reality, where the creative counting intently on issues of creativity as a "narcissistic withdrawal". This was considered a retreat - in the eyes of some - an indication of a crisis of creativity and suffocation, especially since the creator's preoccupation with the concerns of his creativity and make it a central placed in it, explains its inability to capture reality and his inability to portray.
However, others believe the opposite. Wu believes that Fbatricia Almitarwayh for example, as a form in which a thinker, "which operates through Ochklh Problematization The concept of reality more than destroy it", and Linda Hchun emphasizes that "telling the same Abennin Does not indicate a lack of sensitivity or concerns in the humanist nature (or human) to the novelist, nor is it a sign of a crisis, or a bottleneck caused by the literary imagination of a very large effort in critical thinking [...] if self-consciousness was a sign of the disintegration of this kind, the novel was to have begun its decline since birth ".
These views crystallized on Almitarwayh apply exclusively on Almitamsarh. The procedures employed by the contemplative never tell the interruption of his grip on reality. On the contrary, Valambda live theater and a distinctive Baltjaúh to Almitamsarh. The direct intervention in the imagined and presented to the same positions at and about the world around him, particularly as it becomes in a theater - the epic Dramaturge - rhapsode - Ptabersarazak - which is different from the traditional author, who prefers to hide behind his characters and the events of absence from work.
Valmitamsarh, then, translated into a formal structure for the creative vision and reality. Vmsarhh theater, which is the fundamental base, the other face of the dramatization of reality. Note that this is carded to take - Modoatia - different forms, including: the relationship phenomena, object, or play with life, or the illusion of truth, as is the case with the names of known and Ki_ykhov Berandelo and Genet and others.
If Almitamsarh creates confrontation and conflict between the forms of play, and thus between the literary formats, it is, in parallel, creates a conflict between the perspectives about the reality reflected in these formats. Vachtgal Almitamsarh, for example, in the context of parody, or in the comedy scene as a counter, makes it a practice to play against the form of a pattern reflects the attributes of social relations and specific, and founder of the ideological perspective is based on the recommendation of the values and the creation of interactive and dynamic in it.
In this context, one can say - To name a few - that the position taken by Brecht at the opera as a kind of harmony and dedicated to pretend, in his play, "Opera of the three loans," can only be interpreted ideological function that makes this type of theater and a way to hide the contradictions existing in society.So no wonder the theatrical work Albraista model for the correlation function between the aesthetic (literary heart of the pattern) and the ideological function (destruction of the prevailing social pattern) for Mitamsarh.
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