Meta Theatre in historical context - aesthetic: "An Evening with Abu Khalil Qabbani to" Saad Allah and news .. Crystallization experiment Meta Theatre governed by aesthetic play and clear

Saadallah and provides news in the play "An Evening with Abu Khalil Qabbani," another version of the Mitamsarh Altaesela intersect with the experiences predecessors in terms of Article Almmsarhh and historical in nature, but they differ with them, radically, from the perspective of the background of intellectual and aesthetic control over them.
If Jacob Snoa has read his own from the perspective of Sermata the basis of the components of his theater and in life, and if Noman Ashur had tried to put the experience of the pioneers in the historical context through the formulation and documentaries synthetic;
the obsession documentary historical, for Saadallah news, not only a pretext to other things closer to the spirit of the theater.
His goal is to develop an aesthetic experience Mitamsarhah governed by the play and clearly defined, trying to restore "the essence of the play the old" and in particular, benefit from the secretions of the theory of Western theater. Perhaps this is what makes us assume that the play "An Evening with Abu Khalil Qabbani," commends the new brick in the letter Altaesela Arab texture to benefit from Western theatrical aesthetic to establish the theater in the Arab community.
The Saadallah news was one of the first Arab dramatists who pulled out the process of rooting out of the impasse that heritage and put into it, and made ​​the world open up to the horizon. Perhaps this is what drives us to talk about the dilemma is the fact that the attempt to revive the forms of theater "contributed premium is small and, indirectly, to stall the process of rooting the art of theater and to instill traditions in our communities and extending its roots in the soil; and this aspect also assumes the nature of life and its struggles form theatrically sublime able to make them technically and expression deeply for our times and values. and stand behind their failure is also the desire of owners to be a competitor and alternative to the form of theater EU, and other words and place - the primitive forms - in the face of the art of theater in the finest form, without the attention that the issue is not a struggle between two playwrights Arabic and continental ... but take another turn. Valmsarh EU is no longer a European on the one hand, it has become a component part of modern civilization that are essential to a people about, and thus assumed a universal character, and the other is denied Diallktekeya shapes the play primitive, in the sense make some of its components in the process of development since the Greek era to the modern age".
Can, therefore, a play dealing with the news and as a corrective formula Mthiamsarhah perspectives reduced rooting to return to the roots of Arab heritage, and have made ​​this return bond in the hostility of the Western theatrical experience. For this, he was among the most prominent playwrights who have woken up to this slide, which explains the director Jawad al-Asadi said: "We have flooded the dramatists Arab dictionaries of their research tendency toward rooting, not as one of elements of the integration structure of the play Arab but rather as a case of closing the text traditional Arabic only. foot theater, dramatists, writers, directors and critics, much research on this matter, which ultimately led to a vacuum alarming ... The stage is not based on the premise flat which does not grow or evolve depending on the heritage of the writing and the climate and the meaning, but the theater to take shape, first with the building drama and with the value of creating characters created theatrically authentic, I mean solid and consistent, I mean new, both in terms of language or embroidery event and actions, and what gives him the embroidery drama to complete the picture of the play the new heritage was, or recently, legendary or epic, realistic or surreal".
In the context of this scenario, you need to understand Almitamsarh Altaesela when Saadallah news which makes it a tool to uncover the paradox of rooting in the Arab theater, the paradox lies in the attempt to establish playwrights Arab art intruder comes from west, into the soil Arabic, ignoring this fact the basic historical, and therefore condoning the western accumulation in this context.
The news and recognized this paradox and try to get rid of their effects. Accordingly, it has been found in the theory trivial epic Albraistah   He wrote the play "An Evening with Abu Khalil Qabbani," inspired the various principles of this theory. He created his Almitamsrahih, in this text, on the basis of aesthetic Tgraybeh background allowed him to crystallize after Marawi, meditative, against - Aihama reflected in the structures of the text Gaúaa, Modoatia and qualitatively, as its effects spread to the vision held by the public.
A title of the play and the threshold of fundamental news for the horizon Mitamsarha clearly defined, is based on a double: aesthetic and historical at the same time. The word "evening" refers to a combination of ingredients which, dialogue and watching the entertainment. And "Abu Khalil Qabbani" symbol refers to a crucial stage in the history of Arab theater. Title was collected, then, between Mkonyen
One refers to the form of the play and the other refers to the content.
If the title refers briefly to the two trainers who promote them Almitamsarh in the text of the news, the speech Almekdmata reveals, clearly, we are about to experience is aware of the logic of game play, and trying to set up on the basis of technical reference and clear is the epic Albraistah also aware of the nature of the historical perspective that you are trying crystallized about a crucial stage of the history of Arab theater.
Formulated Saadallah news at the beginning of his play "some observations necessary" in which he expressed a privileged position at the experience of Abu Khalil Qabbani that "the fundamental value of that experience ... is not the only leadership, but rather in the nature of supply   Effective social theatrical event.Valjdh and contact improvisation and live Palmtmishqin, all that was preventing the display to a social phenomenon creates a new atmosphere in the evenings people and generate a sense of special Bjmaithm".
Clear from this speech, that the point of strength in the experience of igloo is not the lead, but the event is to turn the theater into a social event. Therefore, the aim of restoring and news from this experience in his play is an attempt to restore the essence of the play as it was when the igloo. From here, Vqrath of this experience brought him to discover the formula for the innate aesthetic Albraistah. Says: "It was on these offers, which began fought sleep everyday alienation of fungal ... and can distinguish the elements of alienation in the decoration crude, envisioning the scene instead of being adopted in accordance with reality, and the diagnosis is based on over-conservative in every moment on the nature of the k" diagnosis of "no Ktqmus or representation, in addition to singing and dancing, which tear the events, and alleviate the stress so common joy, and still the distance between the spectator and the roles that are diagnosed in front of him".
The property mildew alienation   Which is the essence of the old theater is the bottom line for theater and news. To achieve this goal we find elaborate technical perspective based on the distinction between:
- The text and presentation.
- Letter of the author and the address of the director.
- Real and imagined.
With respect to the first element confirms the news that the text is based on the integration between Gaii story "with Harun al-Rashid Ghanim bin Ayyub and strengthened the hearts." The story of Abu Khalil Qabbani for the establishment of theater. It should be translated this integration in the show through some sort of separation, which makes us understand that obsession Dramatizing Altgraybe strongly present in Saadallah news.
And finds that assigned by this concern in the consciousness of the creative need to distinguish between the letter of the author and the address of the director. Thus, he suggests - through the text - some of the observations would like the director to take them into account during the output of his play, he does not want to give up the main thing for him is "sent a solemn nature based on the interaction of deep with spectators, and not ridicule a lack of display capabilities and the weakness of its means technical data and some features that may seem naive to us now and palaces".
Position of the news and trying to strip compounds superiority considering the experience of the predecessor to the sort of cynicism, and armed with a realistic look to regain the most important in the experience and proficiency with the spirit of the age. But what is proposed and the news in the text "does not absolve the director himself to do his research on - perhaps in cafes or in theaters popular cheap or in the celebrations held in the old neighborhoods - all other elements allow us to restore a richer and more accurate core supply the old".
The news here inaugurates a new era in the path of Arab theater focusing on the play, and the role of the director and the independence of his speech for the author. And likely to satisfy the creative aesthetic Albraistah was behind this shift in discourse Altaesela Arab; release of the moral dimension, as the influence saved him from the control dimension of heritage.
If Almitamsarh when news is based on the awareness of the border between the text and supply, and consequently between the author's speech and the letter of the director, it is also based on deep understanding of the phenomenon in which the play distinguishes between real and imagined. We have the experience required to return to Kabbani care to the historical dimension of the documentary in order to give an objective picture about the reality of that time the theater, but the spirit of the theater necessitated, in contrast, restoration of blank documents and gaps in history, and by resorting to the imaginary.
As long as the issue of the Arab public and its relationship to watch a fundamental issue, the news and resorted to the imaginary in order to illustrate some of the reactions that were expressed by the public at the time about the theater Kabbani. He says in this context: "For my part I tried to create or imagine a set of relationships between Mtmishqi that time and events that take place on the stage, and placed on the tongues of some comments, and listed by the facts probably were not documentaries".
The importance of imagined here in the hermeneutical horizon that you open in the text of the Mitamsarh  "An Evening with Abu Khalil Qabbani," especially as they allow reflection theater history from the point of receiving the Arab theater. If the play was re-writing the history of theater productions embodied in the experience of Kabbani, they are written, in parallel, as the date of receipt by entering the spectator as an actor in imaginary play.
This is reflected overlap between reality and fantasy on the structure of the play clearly. It creates an overlap between the story strengthened the hearts and Ghanim Bin Ayyub, and the story since the beginning of his igloo until its end in Damascus. Realistic theatrical incarnation historical documentaries, which monitors the path of Kabbani, and the imaginary is diagnosed through a "novel diagnostic Tlhanah literary affair," as reflected in a caller in the play, is a novel food with hearts Ghanem.
Construction of the play is based on the installation Gaii inspired Daramatorgia Albraistah. This is reflected clearly through a combination of parallel and rotation in the narrative of the events Almsarhatin. And turn the text to the technique the narrator - a role played by the caller - to deliberately create Alktaea Gaúah, and turn the narrative turns from the story to those in paid boredom and monotony for the reader and audience, and helping to maintain the distance required between him and the events Almmsarhh.
Dramatizing the epic backdrop of a basic aesthetic narrated in the play and the news, Taatzafar several components for the incarnation, whether through dialogue or the instructions of the play. Since the beginning, we apply the guidance of the spirit of theatrical stage describes Scenography is based on the events reflect the space depending on what is called the rear panel Toile de fond , And we find a tendency towards breaking the illusion, and put the viewer in the context of the game by blowing the play space and play bridge the gap between the hall and the stage.
These data paint a Westernizing the initial framework for the exercise of Almitamsrahih, particularly by showing the spot where the theater of Abu Khalil Qabbani. As long as non-linguistic patterns for display only and do not allow the development of the recipient in the context of Mitamsarha, the theatrical resort to address the public directly to explain the aesthetic standards of the gap Almitamsrahih   :
"Barker: Gentlemen, I Cram
    Who enters our theater take-
    It is frequented regret
           Sohrtna the lesson today .. The fun
    The singing, dancing and diagnosis
    Gentlemen, I Cram
Please do not hesitate to
    Evening entertaining and useful
    Where the fairy tale, in which the story of a realistic
    Aaron, you will see with Prince Rashid Ghanim bin Ayyub and strengthened the hearts
    Literary love story Tlhanah diagnostic
    Written by Sheikh Ahmed Abu Khalil Qabbani
    Inspired from ancient history
    Devised and composed by her character and with his band
    You will see also the story of Saeed Sheikh Kabbani with Ghabra
    Real figures and facts fixed
    The story of a realistic
    We collected strands of documents and news
    We will represent to you this night
    Gentlemen, I Cram
    Please do not hesitate to
    Snstrd estate heritage with you stupid and ignorant
    We will renew the memory of the artist suffered and sacrificed
    The memory of the leading theatrical Abu Khalil Qabbani
    Who enters our theater take-
    It is frequented regret
    Evening where the lesson .. The fun
    The singing, dancing and diagnosis ".
What was announced and the news   In his speech Almekdmata interpreted through this letter direct to the public. Valmsarhah you, Modoatia, the dramatization Gajtn one realistic and the second imaginary, and the manifestation of these demobilized through storytelling, diagnosis, and singing and dancing, in order to achieve the double objective: the fun and education. The caller - specified for each of these elements - provide a framework for the exercise of epic aesthetic Almitamsrahih Saadallah in the text of the news.
We have made ​​the play data Sermatah Balkabbana on his career and the play since its inception in his home until his fate was the establishment of theater closures and burning. This has permeated the monitoring data on community Kabbani politically, socially and religiously. For this, Vmsarhah news and intersect from this point of Ashour Numan play with, but the difference between them is evident in the way the embodiment Almitamsrahih practice. Valhages more aesthetic presence for Saadallah news and making it free from the authority to run an imaginary documentary, and also get rid of a serious documentary history to put a little fun and laughter to the text and the use of the double play.
In the context of the handling of the issue of women's participation in the theater of Kabbani, and the news turned to ridicule. To the extent that their use gave an air of laugh at the dialogue, as far as reverse critical of manly closed society does not allow women to exercise the theater.
In the context of the incarnation of the reactions and debates and clashes in the community about theater Kabbani, resorted to technology news and theater within the theater. This is reflected in the development of intellectual conflict between the figures are: Abdul Rahim, Abu Ahmed, and Sheikh Saeed Anwar. The tried and news in this scene representative of the second degree, which embodies this struggle to remain faithful to what he called in his introduction to "objective method". So, we Btamlna multiplier to this scene as if it were a scene in front of ore; in the sense that the news did not interfere. And find this formula is justified in practice Almitamsrahih based on historical fact with the intention of clearing some of the constraints act drama in the Arab community.
These concerns have produced a qualitatively distinct aesthetic framework of the play in line with the strategy of controlling the rooting. Valavadh Albraistah concluded from the aesthetic and news from the persistence of the classical theory of types, and gave him a flexible framework to create an intersection between the real and Altejeala, between the historical and emotional, between the literary and Alfaragoa, in front of us, "the text of the Open." Thus, the Mutaiamsarh Altaesela not absorbed comedy nor tragedy nor Turagiuomidea, as long as glued to the Arab context is open to all possibilities and dimensions.
Thus, Saadallah news tried to adapt Almitamsarh Altaesela preoccupations with the nature of consciousness, and artistic and intellectual, focusing primarily on two main Mitamsarhatin: the interpretive function and function ideology.
Valmsarhah - as already mentioned - is history dramatized production and receiving playwrights at the time of Abu Khalil Qabbani, and is this history on a strategy Thianah and not on the tendency Haninah about the memory of the play, and manifests itself in this strategy in the universe and news - armed with the awareness of history - is the stage mirror that reflects the reality of the Arab world politically, socially and religiously. Thus, the outsider art of rooting it can not be done in isolation to understand these contradictions.
That evoke Abu Khalil Qabbani is to evoke a symbol, and the restoration story strengthened hearts are to restore the pattern of the theater. Then, stating Saadallah news is a mirror for the same two plays and the practice of controlled two specific conditions, as is the mirror of the author and his experience at the same time.
Adding to the deepening of this relationship is the fact that the play "An Evening with Abu Khalil Qabbani," written at a time when the news which is trying to establish the foundations of what he called the "theater of politicization." It is clear that this creator has found an equation in Abu Khalil Qabbani, as long as the conditions of social, political and cultural surrounding Bmsarhhma similar, which impose conditions that the act becomes a social drama to an event. Not to mention the fact that the news was found at the scene aesthetic Albraistah Kabbani echoes that of saturation, especially in the aspect of the relationship with the public and the way Benina the drama.
  From here, we can say that the formula of "co-author"., the forerunner of a students in reading the works of the news echoed here are obvious, but had Andemgt specificity of the stage and imposed, therefore, approach certain in the formulation of the concept of theater worthy of nature. It is noted in this context that "self-creative make the community the same: power and the people, rebellion and revolution, education and politicization, the explanation and interpretation, and provides the stage as the school people. A concept that did not die bourgeoisie of modern Arabic since the rise in about the middle of the last century, the date of Zaoralamsarh form inward as seen by astronauts Maroun debate and Abu Khalil Qabbani, and Jacob Snoa. Perhaps this form of theater is assimilated self-creative second Saadallah news, they are fond of it. It was the stage when these pioneers actually socially shared by the viewer opinion, but to intervene to change the events, As indicated in the creative self in the written text of "An Evening with Abu Khalil Qabbani".
Clear, then, that the news began to absorb a good experience of a pioneer in understanding beyond aesthetic first, and then to link the aesthetic context of the community takes its first steps towards modernity. For this, about his play to a mirror to itself and reflecting a perspective of the theater who believes that the art school of the people, and select this perspective, its basis of aesthetic Westernizing, and crystal vision, ideology, which should be carried by this perspective and of the fact that the politicization of the theater rule   Essential to the politicization of the community.
The play and the news these specifications have achieved a qualitative leap in speech Almitamsrahi Arab, has also opened up new horizons for the formulation of propensity Altaesela in the direction that does not contradict with the moves represent a modernist in the world stage.