A distinction imposes itself, starting with, between cumic Comique And comedy. The first appearance of the year associated with the daily events, persons, moods, and some forms of literary expression to match the concept is almost laughable Risible . So, we can go with Jean Jean Sareil Saral Who says: "If Cumic asked what is the meaning? The only answer that I can approve it in whole is: What makes me laugh". This correlation between the concepts of cumic and funny is the one who makes the first character of relativity and it is linked to the nature of human groups. The comedy, it kind of drama he can invest the potential of the cumic and given a distinct form. So, no wonder that we find comedy as a kind have been known multiple colorants during its long history.
This same distinction is underlined by Michel Quervain at the beginning of his new book on comedy, where he says:
"Comedy is a kind and the concept at the same time. As a kind; history is offline necessarily, as long as their origin back to Erstovan, stretching for Hispanics, and become extinct during the Middle Ages to appear again in the 16th century and completed during the 17th century before to prove once and ossifies, then , in the 18th century. and determined, therefore, the characteristics and methods of literary and aesthetic - social [...]. Eumik linked to a concept comedy, as long as cumic that explains the possibility of developing the work comes from the "theater of laughter" in the corner of the quality of Comedy".
The laughter is the property of the bridge approximately the distance between the Almitamsarh and comedy. If we consider Almitamsarh "test of the truth Epreuve de Vérité "By its nature speculative view of the embodied self-awareness - the" this exam, which can not be done without laughter. Attitudes, cash, often comic look". So, no wonder that we find most of the work Almitamsrahih not devoid of atmosphere comedy, that were not are themselves comedies.
Perhaps it is endorsing this association between the act of cash in Almitamsarh and act funny in the comedy, is the situation that Itboaha spectator, where a kind of "arrogance" about what is going on from the events, and take the distance he is entitled to a ruling on what is going on, this provision which is The second face of laughter. It seems that the nature of comedy can help in that, especially as they - as Quervain - "Date of last L'Autre . Date of last makes us different to our audience - whether in clothes, in his words, in his dictionary, or in the way of living and his conception of things - degraded and ridiculous in us, by making it his own ".
The comedy helps to destroy the values and other building; and this itself is a dialectic that form the backbone of the Mitamsarh who works where, often, as a "scene of anti Antithéâtre "Destroy, in turn, a certain concept of the theater to build another concept. In this context, there are two features that are essential in the comedy Takleghan Mthiamsarh the appropriate framework for the practice of cash to become catabolic to an aesthetic of the play, and thus to format the values associated with it, namely:
- Destroy the sanctity Désacralisationn , And is reflected in the fact that "cumic little respect; not only about life, death and God and the institutions of any kind, but also about the rights and Tfahath and follies multiple. Smote the divine is contact with difficult issues, and daring to problematic serious kind of insolence [...] and hit the sacred is have to admire or shock, and that leaves no room for indifference". This property serves Almitamsarh from multiple angles, as they provided a favorable climate for the author to be clear with itself and with the other, and declare his views on the aesthetic value and also without embarrassment or hesitation.
- Negative character Caractère Négatif . Valcolmak necessarily be against something. So, we note that comics based Almitamsarh is a "work Sraih Oeuvres de Combat "- As he calls Nishi - so they create a kind of harmony and compatibility between the theater as a framework for the exercise of the conflict and drama as a field for the exercise of criticism and elaboration of the" clash of theaters, "as was the case for example in the" impromptu of Versailles "to Molière.
