It should be noted, first, to take the overall epic Balmitamsarh require evoke Ribertoar Albraista theater, particularly Brecht and the theater has yet to shape the experience of new and innovative, but also formulated the basic principles of the poetic self list got up on the ruins of Aristotelian poetic. The striking that Brecht did not hesitate to shed light on these principles through various means, including Tnzirath and creativity play itself.
If the side, which accounts for our attention is the formula for this creative poetry, stand on the various manifestations requires the bulk of the texts evoke the theatrical nature Almitamsrahi, leading him and implicit. But, as long as such a comprehensive work beyond the limits of our potential current
We believe that the approach to the play "The acquisition of copper L'Achat du Cuivre "Capable of illuminating key aspects of epic poetry.
Inevitable first to distinguish between the two formats Abdaitin of Mitamsarh epic: the first is in the writing of the texts of the play in the conventional sense, fall under the imagined, including the "Oprah sharks three" which was made Brecht a parody of the type of drama is serious and Sam is the opera, including transmit it from the dimensions of technical and ideology. We have made it a Brecht speech critical and ideological detect manifestations of harmony and pretend that it dedicates the Opera in order to hide social contradictions, so that "thinking in the opera is not separate from social criticism. Valoobera form of bourgeois in particular, trying to keep the item romantic art in the world is not proper. Thinking reveals, now, the devilish nature and stripping Haaratha based on the recognition of the existence of a harmonious world, and stripping that are accompanied by pleasure". This is the first version to make money melts in the context of a theatrical Tejeala.
The second version, they are penned by Brecht in a kind of play where we do not find ourselves as we read it to the work Tejeala, but before the dialogues between the characters, based on dramatic conflict with the nature of the literary, intellectual, and not psychology. Such acts are written, primarily, in order to develop a critical discourse and my only form of expression that makes it a theatrical text. In this context, the text falls "The acquisition of copper" (1937/1951), which Ekshl model "for this to slip from the practice of criticism to the practice of the theater".
"The acquisition of copper" is a long dialogue between four characters: the philosopher, Dramaturgy, actor and actress; trying to develop a new method for the exercise of the theater. Brecht has been divided this text into four major sequences called "nights", which aims to suggest articulation or "mock theater," and not reality, and make the reader deals with the text as a real theatrical.
Brecht has tried since the beginning of the text, to support this illusion, through the guidance of theater begins by describing the elements of theatrical space and location of figures within this space. Moreover, we note that the characters themselves are trying to install this illusion theater, especially of Dramaturgy, which says:
"Dramaturgy: ... we can, we're talking about the theater, to feel as if we talk to an audience, that we do ourselves, play small. We can also - if Will light our discussion - that we, here and there, Exercises for
Representation".
Inferred from this statement that Almitamsarh in the "acquisition of copper" will not remain within the limits of discursive language, but will turn to the practice on stage. This synergy between theory and practice of play lends privacy to the epic poetry of the text so Become a poetic word and act at once.
And to dedicate Altejeala nature of this text Almitamsrahi from start to finish, he chose a title allegorically Brecht does not match the content of what is going on directly in the text. Philosopher is taken allegorically to describe his position on the simulation in the theater. While the actor is trying to emphasize that the simulations are not without running the sensations and emotions, says that what the philosopher is interested in the events of real life, and hold it in the theater, is the desired interest of this art. So, turn to explain his position by comparing the position of seller Copper:
"Philosopher: ... I feel distinction of this attention to the extent that I head on to compare myself vendor copper gold at the chorus, horns, not for the acquisition of a trumpet, but for the acquisition of copper only. It is true that the trumpet of brass, but the chances of acceptance to sell it as a copper and the price of copper and weight, very low. Although , I am looking for - like the seller - for events that occur between people. Tqldonha you in some way, despite the fact that Mhakatkm, certainly another goal is to convince me".
This position falls in the context of a long discussion Tmahorhol subject of simulation in the theater, because the discount is the base for resolving other issues associated with it in the text. In this context, it is noted there is a conflict between the two points of view, one starts from inside the theater and is expressed in Dramaturgy and actor, and are formulated from the outside and the second is expressed in the philosopher.Whether it is with this perspective or another, it is noted that the speech Almitamsrahi based on the basis of inference, pilgrims and reasoning, either by reference to the reference philosophical as is the case with the philosopher who invokes symbols Kpavlov and Bacon, Marx, or depending on experience and practice, as is the case for Dramatturj and the Representative.
This rational dialogue on the issues of the play in the text of "The acquisition of copper", enter the latter in the context of the theater thinking it, is to make Mignon asserts that "the dramatic art theater of Bertolt Brecht is the most speculative", and to make Apple announced that "Bertolt Brecht is logical LogicianAlmitamsarh".
Perhaps fueling the two positions is that Brecht was a comprehensive survey in the text of the various principles and concepts play basic and make it the subject of trading rational between Characters, from the concepts: simulation, natural, simulated, integration, realism, the social function of the theater, the theater between interestingness and education, alienation, theater in the scientific age and other issues of the partial light up the epic poetry.
For this, stating "The acquisition of copper" should be placed parallel to Altnzirat Albraistah included in the book "Writings on the stage," which explains it, is a holistic, aesthetic and ideological foundations of epic poetry. If Almitamsarh in the "acquisition of copper," establishes the poetic and renounce the illusion of integration and establish a solid foundation for the aesthetics of alienation, the present Almitamsarh face an ideological focus on the fact that a prominent picture of the world based on contradictions and inconsistencies. The primary role of theater in the detection of these contradictions and push the viewer to take a stand and work on change.
