The form of extrapolation of the experience of pioneers of Arab theater, and reading concepts and tracks and constraints, a key manifestation of the Arab Almitamsarh Altaesela. In addition to studies and research done by historians and scholars of the Arab Theatre, opposite the same theatrical creativity, attention to this memory of this theater, and that through the work of dramatic re-evoke the symbols of the stage of leadership, experience, and carded trying to have them in contemplation and analysis. Among the most prominent trends that followed the speech Almitamsrahi in this context, the historical trend of the documentary, which was the Egyptian Theatre Mgesdi Numan Ashour from his play during the documentary "the dawn of Egyptian theater."
A good Not be noted first that the theater Théâtre Documentaire documentary Is a special kind of theater known as the
Westerners as a form based on the structure and drafting of documents in the form of a dramatic theatrical work makes them integrated. But the background that govern this practice to be theatrical, often politically motivated. Therefore, we find Pavas Pavis In his dictionary playwright known saying: "Theater is not used in the text only documents and original sources selected and the" vehicle "according to the thesis socio - political theater". This type of theater is the antithesis of the theater, which depends exclusively on the imagined and is not necessarily political.
The Noman Ashur turn this thesis socio - political to the artistic and cultural thesis, but it maintains the basic components of this documentary theater: the documentation and Dramatizing. It is through the installation and documentation back in its entirety to the second half of the nineteenth century, including speeches, diaries, newspaper articles and historical texts and lectures, advertisements and songs, he wrote a play you a comprehensive survey of the experience of the early pioneers in the Arab theater, including: Maron debate, proper debate, Abu Khalil Qabbani, Jacob Snoa, Abdullah Nadim and Alexander joy. The facts covered by the text of the play, which is located between the years (1847 and 1889) as it is installed in the instructions of the play.
Title of the play itself opens the horizon Mitamsarhaa prominent before the reader is to shed light on the early stages of the Egyptian Theater, as evidenced by the word "dawn." But what is interesting is the relationship of this address the contents of the text. The subject of the play is the dawn of Arab theater in general, not the Egyptian theater only, which leads us to formulate some of the interpretations of initial work on the thesis of cultural persistent in the documentation playwright when Naaman Ashour, including the presence of a trend of narrow national view that the dawn of Egyptian theater is the dawn of Arab theater; which gives After the leadership of Egypt in this direction. The advantage of the other hand, all this impasse, which occurred when some of the symbols of the second generation of Arab playwrights, and the resulting fragmentation of conscious intellectual and as a result of what the colonial home of the geographical fragmentation of the Arab world. We have noted extensions of this theoretical impasse in the tide of Arab Theatre, both in the East or Morocco. Is not our intention now to enter into the details of this problem. So, just point to the paradox posed by the title of the play in relation to the text, because it reflects part of the impasse in which it was developed in the soil rooting stage some Arabic symbols from the second generation, led by Noman Ashur, a dilemma the attraction between the national and national security.
Beyond this reference to the text itself, we will notice it is based on a combination of storytelling and diagnosis, and to provide a comprehensive picture of the circumstances of the emergence of Arab theater and took the factors of social, political and cultural self in relation to the paths of the pioneers.
Therefore, the distinction can be made in the text of the "dawn of Egyptian theater" between the two types of subjects Almmsarhh: issues related to self-track profile of the pioneers of Arab theater, and substantive issues are in the community of the second half of the nineteenth century, manifestations of political, social and cultural rights. Progress of these topics in the text within a comprehensive vision highlights the relationship of self-Bmoduaa, also confirms the strong correlation between them.
With regard to issues of self-Almmsarhh, the play "the dawn of Egyptian theater" to:
- Inventory directly and indirectly to the theatrical repertoire for various pioneers, referring to their experiences in quotes, writing, and highlighting their knowledge of dramatic species, and cross-sectional view of the circumstances Msarhyatem that started from the spaces of houses and cafes before they reach the construction phase of the theater.
- Highlight the perspective of each one of them about the art of theater, function and how to deal with the various components.
- Disclosure of the business strategies used to establish the theater, including: to inform state officials on the subject of the play before submission, as is the case when Maron debate, and the establishment of speech parallel supportive of creativity theater through newspaper articles identifiable as is the case when healthy debate, and try to bring theater to a broad base of the public instead of limiting it to the elite, as did Jacob Snoa, then resorting to a plan to make the theater confused and line the charitable work with the circumvention of power through the letters Atraúah surface is included in the work of the play are shipped the dimensions of technical and educational facilitate transit to the public, as did Abdullah Nadeem.
- Review of physical and moral difficulties faced by dramatists with the fate of Msarham that led to either close or incineration.
- Linking the experience of theatrical track their personal lives and the role of the disease, exile or Death or harassment of authoritarianism in some of them give up on the stage, with reference to discern some of the other dimension to the role of family in ensuring the continuity of the experiment, as Walsh - that when Maron debate.
It is by standing on these issues, the play sheds light on the contexts in general Arthunt by the march of Arab theater in its infancy, so we find presented to key topics including:
- Relationship with the theater asking the Arab Renaissance.
- Relationship with the prevailing cultural scene structure, especially the position of power and the clergy of it.
- The nature of the Arab public and its contribution to the rooting stage where we find, for example, Alexander explains Farah Abu Khalil Qabbani tendencies Egyptian public, saying:
"Alexander the joy: people here like Tarab and tend to humor your novel .. and thank God all Inlaid music does not lack fun light".
- Discourse relationship reformist Arab theatrical discourse during the nineteenth century, The link Bdaah theatrical reform, including Jacob Snoa who reported a lot of Jamal al-Afghani:
"Snoa: But we must continue to walk regardless of the obstacles .. The Imam and the Afghan men Understanding and awareness .. Of the view that walking slowly and we are keen to ensure that Manuscripts of our novels that fill the soul love of freedom and dignity".
- The position of the public intellectual of the theater through the press reflected the experiences offered.
By shedding light on the intersections between the structure of the theater and structures of cultural, political and social, it is noted that Noman Ashur than the dimension documentary neutral to reflect over the composition of the text a historical perspective on the Arab theater; a perspective consistent with his drawings Mohammed poor of the themes related to this perspective, namely: "Mahoralol : extensions of reality and its manifestations in the process of the play. The second axis include perceptions of the monetary and laparoscopic within the general conceptual prevailing in a specific time period, highlighting the relationship establishment between them. Third: to highlight the dimensions of the aesthetic of the play by clarifying the features of the development of this course dimensions and features of the stability.
The play, "the dawn of Egyptian theater", then, is a dramatized history of a crucial stage in the history of Arab theater, the process primarily aims to understand the context in which the provision of this stage to take a lesson and a draft Taesela benefit from the experience of pioneers.
If the issues that we have inventoried the basis of the text reveals the adoption process of history on the extrapolation of miscellaneous documents, the presence of obsession Dramatizing Noman Ashur made within his theater attracts Mqomin Jamalian two main narrative and diagnosis.
Something far no doubt that the drama documentary in nature Tmvsla assume a text based on the aesthetic separation; articulation is dictated by the process of installing the various documents. So, the Noman Ashur's keenness to translate this aesthetic narrative and diagnostic, and so become the process of history to the process of the play.
From the point of the narrative, does not provide a text story imagined; but depends narrative in the words of Rao organize the facts in chronological order, determines the place, and intervene to declare the end of the stage leading dramatist and the beginning of another, and gives sometimes some data that indicate that the light of events, in the form of comments and the provisions of . Of, for example, commenting on the opinion of the Nicola debate, saying that the theater mirror human flaws to avoid, where he says:
"Narrator: It is as if the stage we knew from the beginning as a tool for reform through criticism".
It is also noted that interventions in the play are of the nature of reduction and condensation, where the facts of his narrative covers many stages and takes us to task about the technical summary, known in the field of narrative fiction.
The adoption of the text Noman Ashur technology narrator is consistent with the character of the documentary that sets it apart, and contributes to the cutters, is thereby transformed into a tool Dramatorgih essential. Perhaps this is what shows persistent obsession Dramatizing even in the use of narrative technique Khath, in particular, and that the separation of the diagnostic sections that depend direct dialogue between the characters. Vtdkhlat narrator this course can be dealt with as guidance announces the play intervals and transitions space encyclical titled, also points to some signs in the text Dramatizing Kaldharbat three, music, sounds, songs and applause, in the course of events diagnosed link.
To add after the aesthetic to the process of history perfect stage performance and rid the reader theater of the cumulative nature of the documents, resort Ashour to the combination of narrative and diagnostic rotational guarantees of each other and create their considerable overlap in running mechanism thrill pays to wait for more facts relating to the dawn of Arab theater.
Then, we can say that the play "the dawn of Egyptian theater" had set up her Almitamsrahi on the basis of the function is the central interpretive function. Have reflected this by writing a play of the history of Arab theater. If these historical writing Almmsarhh have adopted a template is qualitatively drama documentary, aesthetic text is based on the combination of narrative and diagnosis, the general framework which is governed by the obsession with rooting. Veneman Ashour was looking for support for the theater can establish a historical foundations; it was to read the experience of astronauts to detect which of how to be a theater in the consolidation of Arab soil.
