Meta Theatre.. Hopes the stage for the same non-linguistic Abralonsaq for display. Difficult to talk about the theater stage play tools

Supposed to talk about exercise as Almitamsarh Mitanasih similar Balmitarwayh and Almitchar, starting from the theater as a literary genre. In fact, when we think of the text in terms of theatrical poetry literary text, we are moving in this direction. However, given that there may interfere with this choice, and the dual status of the theater, which makes it a literary text and a gap in the same time. This situation requires invoking privacy theatrical forms, and push on to say that Almitamsarh Mitanasih practice, but it is essentially a play with tools.
Theatrical text consists of two layers of text: the dialogue and instructions of the play.
 So, the question arises: Where are the Almitanasih, is in the dialogue, or the instructions in the play, or the two together?
   Some scholars have tried to address this problem in the adoption of a flexible concept adaptable to scientific phenomena and semiotics and linguistics and literary at the same time, the concept is AlmitaleghMétalangage , Which descended from the logic to be subject to the type of generalization him to move to a field to the field of linguistics and literary criticism.
    In the context of talking about the six posts Gakpsonah in relation to theatrical discourse that sees Aobersfield Anne Ubersfeld That the function Almitalgoah "which rarely attend to the dialogue that does not think in terms of production only slightly, largely operate in all cases where the attending carded, any announcement of the theater, or theater within the theater, ie in the case say that Snni theatrical traditions". Oobersfield but noted that she remained faithful in this specification to define the Jacobson Matalegh behavior as a linguistic double focus on the Sunnah. Therefore, it considers that the Alhawwarla can include function Mitalgoah.
   However, the extrapolation of a simple dialogue theatrical both in authoring the classic, which was melt in which the author behind the Characters and makes some of them speak in his name, or in authoring the modern, which allowed him to go out to the front of the events in order to reflect the attitudes and views of monetary theory and directly through the creativity, we emphasize that this practice Almitalgoah always existed, but in different forms.
   Given the relationship between dialogue and instructions of the play, one refers to researchers "the possibility of considering the instructions as a dramatic theatrical text Mitalgat, and studied on the basis of being well". This view is based to the descriptive nature of these guidelines, which take the dialogue on the basis of being a language - a subject Langage - objet . But what is missing from this view is the situation that the directions taken by the play in some experiments in avant-garde theater, where the missing dialogue entirely and become the address only in the text.
    Whether we take the first or second opinion, we will notice the absence of talk about in this dimension Almitanasi Almitalegh related to the text theater, and the case that this text, like the novel, poetry, capable of combining his Altejeala and critical discourse in the context of his immanent one. When he does so "becomes active and contemplating the same Obeia, any mixes - cheerfully - spoken (text Almcol, watching made) Baltlfez (thinking about Almcol)". This mix is as much as through the channel of dialogue, as far as it contributes to the instructions play well.
     If the practice has been the play assumes the presence last achieved in the show, there is a firm principle that controls the relationship with the text offer - whatever the form of the relationship: translation, interpretation or Thagata - that the display language built mostly on the language of the text, making it operate as a superstructure or dimensionality. Perhaps it is this relationship that inspired the establishment of some similarity between the relationship of the text by providing cash and the relationship of creative theatrical display text, where the offer becomes a Matalegh for the text.
    In this regard, says Bernard Bernard Dort Dort "Do not mean a job offer is subject, in fact, for a critique of the stage and then to criticize the hall; any ascertain the extent of its ability to function today? [...] There is a similarity between the work of the critic who spends that tell us about the work in another language, and the work of the director and his assistants, who is, essentially, is to find an equivalent of the work, if not in another language (you can talk the language of the show?), at least in the forms of theater, including the space stage, the body of actor and his [...] it comes, whether in this case or that, to give meaning to work across a new form, or by what we call "Matalegh", and allow a renewed and lasting understanding of it, through it ".
   True, the show demonstrates this property cash out as long as the text to
Confrontation, and holds as long as many of the monetary implications, including the detection and erosion and Manifesting direct confrontation and the involvement of the recipient. But the question here is: if the display does the job for the text, can he lead the same role for itself? In other words: Is expressionism Onsagah could use to create a practice-related Mitalgoah Alfaragoa his speech?
    This question puts us at the core forms a relationship with a major Almitamsarh the offer and not the text, and the extent of the possibility of hope for the theater itself is Abralonsaq language for display. Pavas answer to this dilemma by saying: "it difficult to find a theater to talk about tools of the stage play, any tools and other non-literary language, but tools Faragoah and Abyei. So, the Berandelo himself not only a view of many gossip".
     Evident, by this view, it is hard on the stage drafting a letter Mitamsarha outside the framework of literary language. Perhaps this is fueling the selection from which we started, since the beginning, and as a theater of literature, and considering Almitamsarh Mitanasih practice guidelines related to dialogue and the play at the same time. In line with this choice Almitamsarh assume that - in addition to being Mitanasih practice - a form of literary cavity Mise en Abyme littéraire ; And quotation on the adjective "literary" in his account and enters the function of literary language in the theater the first place.