Meta Theatre and parody.. Not arbitrarily to be linked to the theater within the theater, often satirical simulated

The talk about the parody Parodie Is the talk of genre, which is the mixing between the two practices explicitly creative and cash, making it a fertile framework for Meta Theatre.
In this type, we find, in most cases, two versions: an earlier version of it Msgur Hypotexte   Parodié The text of a later satire Hypertexte Parodiant . The relationship between the two texts on post-conflict and confrontation, and built on the dialectic of destruction and construction. Perhaps this relationship that made ​​her closer to the distinctive character of the Mitamsarh, and made ​​the latter, in turn, associated in many stages of development. This is confirmed Chmilng himself when he says: "It is not arbitrarily to be linked to the theater within the theater, often satirical simulated, ie, as
Who is looking for confrontation by nature, and be the holder of a type of theater - the so-called anti-contrast bourgeois theater".
  Regardless of the ambiguity that hovers around the concept of parody, which makes it meant "sometimes maiming Allobei, and sometimes transform sarcastic, and sometimes parody of a method", these practices or different functions performed by the text of the earlier text he makes the simulation a kind of satirical Almitalegh, as Claude Ibastado. Given as such, it plays an active role in the development of literary forms, especially as the irony of the text of what it is, ultimately, ridicule of the kind that belongs to that text.Perhaps the extension of the influence of the text to type is what made ​​Wu Patricia Patricia WaughConsiders that the transformation created by parody necessarily affect the literary pattern in general.
  Therefore, if we look at the parody in the theatrical context, we will notice that the link between this and Balmitamsarh type satire has coincided with a fundamental turning point in the history of Western theater is the eighteenth century, who knew which moral values ​​that emerged from the classical age a real coup. Has "reached its peak during the parody of the eighteenth century, and became a real institution. Vmsarh Italian exhibition and theater are the ones who turned the serious drama of each species almost Kaloobera and tragedy, to the ridiculous".
So, Almitamsarh found in the parodies of the eighteenth century room to put all the values ​​of the classical subject of ridicule, whether moral values ​​(virtue, duty) or aesthetic (beautiful, real, good taste) or literary (theatrical court-made La pièce bien faite .) And this was the best expression of the spirit of the age, which was distinctive character - as Chmilng - is the "clash of theaters." This conflict, which had a strong link to public taste shifts and dynamic positions of the receiver about the types of old and new theater.
  The Almitamsarh achieved in the context of parody two main goals: the first literary purely represent the creation of a confrontation between the values ​​of a play old and new in the heart of the Layout literary mainstream, and the second is social making of theater art popularly serves broad categories of problem for society, so that the tragedy - the kind noble hard - somewhat less ordinary subject of ridicule moral and aesthetic values. For this, no wonder that we find many of the contemporary theatrical world Istouhon parody as a framework for the exercise of an aesthetic kind of anti-theater, and to reveal the ideological dimension of some species Avenue, as he did for example with the Opera Brecht in his play, "Opera of the three sharks."

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