Meta Theatre Baroque: "Life is a Dream" for Calderon.. Between the humanism of the Renaissance Alklasekh and religious tendency, which is fragile human beings exposed to types of temptations and sins and the sins

Fall drama "Life is a dream La vie est un songe "By the Spanish Calderon de Abarca Calderon De La Barca  (1600/1681), within the literature, Baroque Baroque Specifications of which were set parallel with the so-called golden age in Spain. The significance of this being a translation of the text in the minutes of the principles upon which the baroque poetry.
Baroque is characterized by the characteristics of cultural, religious and literary specific. Has inherited from the Renaissance Alklasekh culture of humanism, marked as control of religious tendency of human beings are fragile and vulnerable to types of temptations and sins   And sin that can not overcome alone, without the aid of God. Thus, it is noted that "the whole Baroque literature, restores, without tiring, stressful Bnzoath human form,
Resulting in a painstaking search for knowledge and self-control". In this context, the real victory  Baroque is the champion of self-conquest in the whole world of illusions and dreams, advantage of transit and wilderness and the lack of security and stability, which requires the return constantly to the "god just simplifies a look at the great theater of the world".
Baroque and especially in the literary eloquence of expression of this vision of man and the world, the basic advantage Harna paid to the language to say that "the drama of the Baroque era is the golden poem of all".
Within this context,   Metaphysical and poetic theatrical Ribertoar should be developed for Calderon in general, and the play "Life is a Dream" in particular. They fall - according to Salah Fadl - in the second phase of the track creative Calderon, which dominate the "Elements of perception poetic and philosophical drama, as evident Article motifs that characterized the methods of the era of" Baroque ", and highlights where further direction musical lyric".
The link between "life dream" attributes of the golden age of intellectual and moral make Almitamsarh when Calderon than a formal procedure is based on the double play is based on a dream, to become the vision of the author, but the era as a whole, rising on the basis of Tmsarh generalized looks at the world as a theater and life as a dream .
It should be noted here that some scholars the Arabs in particular felt that the cultural background of this vision Alcaldronih extended rooted in the heritage of literary and philosophical Arab, including Salah Fadl, who confirmed the relationship intertextuality between "life dream" and one of the stories "A Thousand and One Nights" entitled to "the sleeping and awake", including also the great Suleiman Abdul Al-Attar, who tried to detect the existing correlation between them and the mysticism of Ibn Arabi, stressing it was "a symbolic show of the mystical experience of the way Alhatmah Ibn 'Arabi". And these assumptions may be invested for the detection Almitamsarh philosophical roots in the Arab-Islamic heritage, but we will take no chances to do so, right now, so far as the problematic compared to complex and beyond the limits of our potential.
If we came back, then, to play "life dream", we will notice that it consists of three parts termed by "days", and it tells the story of Prince Sigismond Siggsmond The imprisoned father, King Basilio Basilio Castle in the mountains, because he predicted it - a world of astronomy and the stars - it would be more cruel and despotic kings if you take the sentence beyond. But a sense of justice of this position, quickly pushed the king to think of an experiment in which his son delivers power partly to test his reaction. So, he asked his son and his bodyguard breeders Klotaldo Clotaldo The experiment using the drug helps to carry the prince to his castle Mnoma of space is filled with pomp and manifestations of the King. When the Prince woke up to this new climate, treat a type of rush and cruelty all around him with a desire to revenge himself. Violent behavior has been paid to the extent of throwing one of the servants of the window. Perhaps this is what made ​​his father convinced Petkhnath and requests shackled and returned back to his castle.
In the midst of   This transition between spaces, between the cases of sleep and wakefulness, Prince hardly believe what is and is all the moments of a dream does not end. So, we see at the end of the second day conversing with himself, saying:
"Siggsmond: ... in this world, every dream, in the end, what it is without being aware of it. I dream that I am here, restricted to these chains, I have dreamed that I saw myself in a position other than deception. What is life? Mad. What is life? illusion, light, imagination; and the greater good is only a little thing, because life is all a dream, and dreams   Itself is not only a dream".
In the midst of this uncertain situation experienced by Siggsmond, quickly recognize some elements of the insurgency from the people that have a legitimate prince deprived of his right to the throne, making them join him and invites him to take the right weapons. Though it is not considered to get rid of what is happening in front of him is a dream, but he decided this time to engage the starting point of conviction:
"Siggsmond: ... dream or reality; act is a good basis".
So, he declared war on his father and defeated him, but the real victory was the same, especially since he had to honor his father rather than revenge, and stressed that the free human will make it act wisely and benefit from past experiences. And to the surprise of everyone, confirms Prince:
"Siggsmond: What makes you Taataajabun and surprised? Dream was the teachers".
When we look at the event recaps in this play Alcaldronih, we note that the game is based on the dream and reality, so as to switch between them without announcing it explicitly, making them blend a deep and overlap. Perhaps the following facts related Bsiggsmond - as a central figure in the play - it reveals, but this oscillation between the worlds of dream and reality affect attitudes and it does not actually control the Slokath.
This game is the other face of the so-called technology theater within the theater, supported by the "dream life" background of aesthetic, philosophical and religious. It comes to metaphor consider generalized to the whole world as a scene of "Theatrum mundi "Rooted deep in the Platonic, which views the world perceived as the world Msokhat and shadows and shadow-transformed and are disappearing, as opposed to a world ideals or moral values ​​absolute, and the support of religious authority is the theology of Christianity that believes in the existence of the ability of Elahie more manpower and recognized as of freedom and the will for humans.
Has been the conduct of this background in multi-play "life dream" through the quality of structures and Dramatorgih reflects the vision of baroque on the human and the world.
Consistent with the spirit of the golden age, he chose the quality of an authentic version of Calderon had reached aspects at the level of production value and creative in this era, namely the "Comedy Comedia . "Salah al-Fadl and emphasizes in this context, it is not a" quality drama and fertility is virgin ground, which it invaded Spanish genius, but a dramatization miracle of life itself and be subject to the type of the overall artistic vision. As a result of this inclusion is an important phenomenon of convergence of the borders between traditional races play. Were mixed in Bothagh this golden age of Spanish drama Palmlhah, not in a "Turagiuomidea" that occurred in the other arts, but the logic of another, more vitality and originality, and the difference between the two cases is what distinguishes the confusion of fusion. In the first case, retains the characteristics of old components and combines tragedy and comedy in one frame [...] As for what he was doing in the Spanish theater and drama units that were given the word "comedy" in the sense of his own, is a fusion of these elements in the artistic vision Bothagh and one more are closer to life and the encroachment of the essence".
The approach of the comedy of life in Spanish to make the play "dream life" compensate Daramatorgih classical structure based on the structure of the five chapters on the basis of three consecutive Taatmvsal "Today" instead of "chapter", allows that "turns the heroic to the comic". Perhaps that is what it seems clear through the character who becomes Siggsmond - despite the emirate - a subject of laughter, depending on the game dream and reality.
The play based on "life dream" on the back of multiple Almitamsarh make them - in spite of its dependence on the double play - turns into a vision of the entire era, the Baroque era. If the original choice for the qualitative Zaki Calderon has this trend in the play, it has helped to link this "metaphysical fantasy" - in the words of Abel -   Platonic bent look to the world perceived as a world of illusions and shadows.
It follows from this, that when Calderon Almitamsarh Baroque poetry is based on a play look at this art as the art of Manifesting and pretend, and perhaps this explains the recourse to Altguena and dream, madness and monstrosity, theater within the theater. And if they relate to Shearia Aristotelian is not disputed, the model simulated - the life as a stage and a dream - making it, in depth, tend to form the Platonic ideal of Aristotle to the form.

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