Meta Theatre Altaesela.. Attract creamsarh Altaesela .. Attract creitmitamsarh Altaesela .. Attract creamsarh Altaesela .. Attract creative issues drama fraught with questions actually

We have combined Almitamsarh Altaesela Arab discourse is to make the text theater attracts creative issues drama charged with questions of reality. However, this polarization has not taken a unified formula or homogeneous. The Arabs controlled the theatrical experience - Bkhalafyatea different intellectual and aesthetic - in the formula adopted by the Almitamsarh in their work.
For this, we can - in line with the perspectives of poetry that we have sketched in the beginning - to distinguish between three basic contexts Mitamsarh Altaesela are:
- The context is represented Sermata play "Molière Egypt and profoundly regret" to Jacob Snoa.
- A historical context - a documentary embodies the play "the dawn of Egyptian theater" to Noman Ashur.
- A historical context - aesthetic reflected in the play "An Evening with Abu Khalil Qabbani," Saad Allah and news.
These models give us a clear picture of the three structures for text and quality of Mitamsarh Altaesela and also helps us to detect the functions carried out by the text in relation to the Arab theater. The diversity of experiences in terms of intellectual and aesthetic, it will make us stand on the extensions located within Almitamsarh, where we, on the one hand, and the experience of contemplative self-respect to Jacob Snoa, and we, on the other hand, the two readings Abdaitin of the experience of the pioneers in the Arab theater; one take the lattice authentication framework for the history of the experience of Maroun al-Numan Ashur debate accomplished, and the second draws the principles of aesthetic epic history in order to experience the Abu Khalil Qabbani and by Saadallah and news.

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