If the theater criticism Western did not elaborate the term "Almitamsarh" only during the first years of the Decade VI of this century, in order to describe the phenomenon of back Arhasatha the first to the fifth century BC; the theater criticism Arab is not prescribed in the circulation of the term only during this last decade of the century century, and through the initial signs of a partial return to the preferred reflected by Dr. Hassan al-Malki, Ali Awad.
He stood Malki on the manifestations of the practice Almitamsrahih through the text of a drama to Abdel Karim Rashid is "Othello, horses and gunpowder", highlighting the adoption of game play is the break down of dramatic
and technical theater within Almsarhn and in light of the crystallized Manfred Chmilng in his book "Almitamsarh and intertextuality ".
The Ali Awad, was singled out Almitamsarh separation within the newly released book entitled "The lure of the imagined theatrical: approaches to poetry text, display and exchange." The labeling of Chapter referred to as "poetry beyond the stage: the lure of the imagined drama of the same," raised in the beginning the problem of the Arabic translation of the term, saying: "fall term (beyond the theater) in terms of cash problem at the semantic level and the level of translation, it uses a counter of the term foreign (Metatheatre) To measure beyond nature (Metaphesicse), Who settled trades in Arabic. Problematic due to the previous language (Meta ), Which is great confusion when translated into Arabic. Therefore we can put many interviews for the term (Metatheatre ), In addition to (beyond the theater), the descriptor theater, and theater commentator, and the perfect stage performance theater, theater reflex, as the development of the interviews of the term (Metalanguage ) Beyond language, and the (Metafiction) Beyond the novel, and the(Metacriticism) Beyond criticism, or criticism of criticism. Faced with no extrapolation of the Arabic equivalent of the term, I am I will allow myself to use the word (behind the scene) and sometimes (theater reflexive) another time".
There is no doubt that the terminological confusion is of paramount importance in the context of the Arab theater criticism. Therefore, the interpretations made by here on Awad, and tried through it and find appropriate translation of the Mitamsarh deserves considerable attention, particularly as the qualities that monitoring for this type of practice the play, including stage descriptors, and the expounder and perfect stage performance and reflex, are all of the core functions undertaken by the practice.
However, the ambiguities surrounding these descriptions are the same, especially if you stand at the significance of language, we tend to keep the term Bassabakth language that distinguish any "Mitamsarh."We see no harm in that, as long as the Arab Monetary talk may be, for now, the circulation of this type of terminology, and theater criticism is no exception. Indeed, this use exempt us from falling into the misunderstanding generated by the numerous translations of the term in our context the Arab one.
Beyond this aspect terminological, we will notice that Ali Awad tried to provide a definition of Mitamsarh highlighting the foundations of poetic and colors of various identified in two colors: the play, which Taatmroy are narcissistic in itself, and the play, which confirms the game play as a game and break the illusion. In addition to this he tried to return, a kind of shorthand, to-asset Bank of the ancient and modern Mitamsarh.
However, it notes that what is adopted, in whole, to selections Nihad Saliha in her book "play evenings", knowing that the definitions referred to by its assets in cash, which the West seems to be ignorant, and unaware that Nihad Saliha itself was nothing new as far as she worked as well as the modification of some of the definitions provided by Patrice Pavas playwright in his dictionary.
If Ali Awad does not refer to the original references Mitamsarh - making
His less credible in terms of scientific for us - what makes the signals Malki very important - although limited to a theatrical form one - is that accurate referrals which reflect Solid knowledge of the Western theatrical term assets, including - in particular - referral by referring to the need to return to the board founder of the theory in this context is referred to Chmilng book in advance.
May be understood from this short pause with the Arab theater criticism, that the recent interest in Balmitamsarh means that the same phenomenon on the emergency Arab theater. But the fact is that the disparity in the western theater of the emergence of the phenomenon and find the term expressed, is the same as what we find also in the Arab theater.
If the simulation is contained with respect to the term and the son of the letter of the descriptor, the terms of the emergence of the phenomenon discloses, for the text of Arabic theater, the existence of interactions of historical and cultural interior created this text to generate a letter Mitamsarha, some mechanisms are descended from an acculturation play, others were drawn from the elements of self-expression rooted in the Arab heritage.
I have lived Arab Theatre concern Being and labor exist, and grew up in the reality of problematic beset by streams and contradictory desires and ideas. Therefore, it is natural that produces some of the "forms of contemplative" in practice the play, especially as these shapes allow for creative drama, in fact surrounded by fences multiple launch concepts technical questions existentialism and perceptions of intellectual and political positions from within the exercise of creativity itself. Then, we can recognize the inevitability of the existence of cultural and historical trend Almitamsrahi established in the Arabic text, and carved his structures and functions sometimes overlap with manifestations in the western theater, and different from other times.
Some might think that in our context Almitamsarh associated with the Arab modernist tide, which carries the text to the Arab theatrical worlds of modern art hops and Kalbraistah Alberandeljh and absurd, and others.If this is true of the side, what was produced by the experiences of Arab theater since its beginnings with the first pioneers of Arab theater Kmaron Snoa debate, and Jacob, and others, confirms the emergence of the features of Almitamsarh with the first birth of the Arab Theatre. Which is not surprising, as long as reflecting clearly the problematic reality and nurture distressed for this theater.
I have lived a kind of pioneer generation attraction between Hagesan Margin: one is the announcement of the birth of a new discourse in the Arab culture, and the second is the search for legitimacy and credibility to this speech by implanting in the hearts of recipient Arab culture emerged in the hair. So, we note that the writings of the pioneers as far as trying to provide stories and play closer to the horizon waiting for appropriateness Arab recipient, as far as to take the ride to clarify the concern of Arab playwrights issues related to the same theatrical creativity on the one hand, and the reality of the Arab hand. All this is reflected through the use of procedures Mitamsarhah - conscious or not conscious - then the primary obsession is to make the theater, as a new speech, a speech is acceptable within the space of Arab culture.
I have been associated with the Arab Almitamsarh, then, in the first appearance of large problematic is the problem of establishment and rooting. It is well known "that the emergence of theater Kfalah cultural civilization in the Arab culture in the forties of the last century, making it a" quasi historic "as production ordained colonialism omnipotent self-Arab, this will move the campaign to question the legitimacy and the affiliation" of the authenticity of the cultural Arab "".
The echoes of this will be reluctant to question the creativity within the theater itself to giving Jacob Snoa, for example, to convert some of its work to resume the play tells the suffering in order to establish the foundations of Arab theater in Egypt. It seems so obvious in his play exciting, "Molière Egypt and profoundly regret." This play and others prove that the Arab Mitamsarh Taeselaa appearance reflects on the extensions of the Arab reality phenomenon within the play, as the other hand, embodies the aesthetic formulas for these extensions, which begs the procedures we will decide Mitamsarhah structures and functions through the analysis of a group of Arab theatrical forms.
The second appearance of the body involved Mitamsarh Arab playwriting in a spiral experimentation. We have controlled a specific strategy to guide the writing about riding the tide of modernization, oscillated between the desire to impregnate the Arabic text Bnqlat Western art, and build bridges between this text and the Arab heritage. The face of this swing Arab theater about three frames Mitamsarhah Background: Tnasi, impulsive and Gaii, the ultimate goal is to try to develop prospects capillaries play a clear and dimensions.
Based on these two endorsers, we need to distinguish between the Arab Almitamsarh within what we call Balmitamsarh Altaesela, Almitamsarh and experimental. , In the perspective to answer the many questions present themselves to us and them: "Any relationship built by the Arabic text with poetic Almitamsarh? How was Benina Almitamsarh within this text? What are the functions assigned to it? What creative outlook and monetary Almitamsarh opened the Arabic text? To what extent the practice Almitamsrahih contributed to enrich and develop writing Arabic drama? Is it possible to talk about the additions elaborated this theory in the direction of the development of writing poetry Almitamsarh?
These and other questions are what we will try to answer it by analyzing a set of models play some of the Arab falls within what we called Balmitamsarh Altaesela, while others fall within what Smonah Balmitamsarh pilot.
