Speaking of the experiment between the western theater, theater, Arab, said Dr. Mohammed Alcgat: "If the experimentation in the West started from the currents of the play known and traditions play a solid, and benefited at times from some of the stereotypes of Oriental and African, the experimentation in the Arab theater associated with the search for a template theatrical excellence. and so we are since the fifties of this century we hear calls from here and there, calling for the necessity of "liberation" of the template Theatre West, and to engage in the search for a formula that the play reflects our personalities and stick to our identity as Arabs. Perhaps Interestingly, the experimentation in the West began by directors, while the heralds first appeared on the hands of some authors that we have grasped by the directors, and perhaps it was due (along with other factors, no doubt) to the holiness that is still enjoyed by the dramatic text in the Arab world".
Advantage of this to say important elements, one on experimenting in the western theater, and the second experimenting in the Arab theater, the former has been associated currents play specific benefited from the traditions of Oriental and African and achieved by Almkhregin, and the second associated with the search for a formula drama Arab and appeared on the hands of the authors.
It is true that the field of dramatic writing or text form an essential basis for testing the Arab theater. But its association in the search for dramatized Arabic was not, in fact, only of its manifestations, so that the opening up of writing Arabic drama on the Western experience opened the way for the emergence of gears new at this writing, to the extent that many of the models turned to the window to test and try a range of Western theatrical formulas.
Given the concern created by this dual pilot, namely the search for a formula with an Arab representing the Western experience, from the debates and different opinions among Arab playwrights, the text of the Arab theater turned into a field for experimentation and thinking in this experiment at the same time. Arab writer has been engaged in dialogue with his experience and hopes its tools and its relationship to the recipient of the Arab side, and the other on the other. As long as Almitamsarh an effective tool in the translation of this trend meditative, and allows the inclusion of built thinker where within the text, playwright, and allows the writer the opportunity to deal flexible with the values of a play of different stripes, and participate in making the events and building speeches explicitly from within the imagined theatrical; the practice test taken Almitamsarh a vehicle to express all of these concerns.
We do not intend here to further analyze the backgrounds experimentation and dimensions of intellectual and artistic in the Arab theater, so that such an operation would be a foregone conclusion, as long as the literature in this aspect of many; and as long as our primary concern here is to try to touch poems Almitamsarh through text Arab theater, and that by standing on the Astalhana it: Almitamsarh pilot.
If Almitamsarh Altaesela has been translated - through a strategy of historical some have taken a look Sermatia, and moved others around modes of documentary or aesthetic - the nature of the impasse, which occurred when the Arab theater is trying to establish itself within a community subject to the constraints of multiple; the Almitamsarh experimental view of the fixture experimentation values of openness, acculturation and artistic freedom and accountability of the permanent values of the play, Reflected the ambition of a great Arab playwrights represented in the capillaries, the desire to develop a play list of self-produced parallel to the western theater in this framework, or at least engage in dialogue with Western capillaries, whether classical or modern.
It was not possible for the Arab theatrical text that goes in this direction, except that the painted themselves Msarhina specific technical strategies and tried to achieve a text. Have been inspired through these strategies to deal with two main sources: the western theater and the Arab heritage.
In this context, we can distinguish between three basic strategies formed the framework for the Arab Mitamsarh pilot are:
- Strategy of intertextuality.
- Strategy improvisation.
- Narrative strategy.
We have reported the text theatrical Arab of these trends many things, most notably the emergence of copies Arab Berandeljh and Albraistah, and the emergence of new forms of writing Kalmrtglh authoring and mass of the text, and updating the Arab heritage not as a content or contents, but also as forms of writing and techniques in the story.
These trends were dug and a new awareness of Arab playwrights are to believe the possibility of creating compatibility between heritage and modernity, and overcome the impasse in which it was developed as a result of Arab theater misunderstanding of the question of rooting. And, above all, the Arab writer was able to free itself from the Western superiority complex, and was able to sing theatrical history of the capillaries through accountability, modify, or produce new formulas have, as we shall see that with some of the symbols modern Arab theater.
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