We have accounted for interest scholars of contemporary tragedy from different perspectives: philosophical, aesthetic, poetic and Anthropological. Perhaps return to some of them make us stand on the fundamental distinction dispel confusion exists between the concept of tragedy and tragic Tragique , Where the first cross of the type of drama has its own history, which comes from the Greek theater, while the second refers to the sense or the appearance of my life daily. The relationship between the two tragic in the ability to change the sensation on the concept of tragedy as a kind, as is the case in the contemporary world as envisaged by Sarazak.
Perhaps this distinction is that made George Steiner asserts "that all people know what is the tragedy in life, but the tragedy as a dramatic form of the argument is not universal.
Art is known as the East violence, pain, disaster, natural or updated on purpose; and Japanese theater is full of movement and violent death, ceremonial, but this portrayal of the suffering and heroism personalities, which we call the tragedy of the scene, particularly the Western tradition".
Does not bother us here stand at the perspective of the Central-west, which handled the Steiner issue, that's the problem again this is not their field, but that concerns us is the fact that tragedy view of the world embodied in the form of drama, and perhaps this perception is built upon Abel juxtaposition, which is evaluated between theater and tragedy. The "death of tragedy" has become for him a Muslim try searching for corroboration philosophical and aesthetic in the modern theater, to prove that he became Almitamsarh argument appropriate to compensate for the death of tragedy. Life is a dream (Calderon) and the world theater (Shakespeare), two versions Ttorgoman perception about the world is expressed in aesthetic Almitamsarh and not in the tragedy. This is because the latter is based on the absence of self-awareness, making it the hero lies in his determination that the decree can not be redressed (tragedy beyond repairIrréparable , Says Steiner), and based on some of the values accepted as fact and to deal with reality as an entity independent of its structure has rights.
These rules are contrary to what we find in Almitamsarh which is based on meditation and self-awareness, because the "western theater incapable of belief in the reality of personal lost consciousness of self", and because the "imagined West is now on the whole liberal and Cecchekia, and tends to look at all the values the institution as a valuable wrong". So, no wonder that the world is an illusion or a dream or a scene, not really.
This perspective defended by Abel premises governed by metaphysical means more than aesthetic templates. The fact that a review of many works of tragedy reveals that the owners are interested in issues of their theater and Mahtmom creating forms of the double play. It seems that the form which is located by the consensus among many scholars in this context, is the "Hamlet" by Shakespeare. This play, which we will devote a special stand which disclose how the tragedy is embodied within Almitamsarh as falling within the so-called hard type.
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