Meta Theatre in the western theater.. Reincarnation of the capillaries play and interaction between the aesthetic and socio - cultural

Almost become a history of playwriting Western Almitamsrahih a series of practices, ranging from the "frogs" Erstovan up to the last avant-garde experiments in the theater of the twentieth century. Perhaps this is what confirms that the playwright West often crystallizes the experience of creative inspiration model of critical or theoretical, or harbor concerns of this nature are for the creativity of playwright that "awareness" that are ascribed and guided towards choices aesthetic certain, and opens prospects for self-reflection and reveal aspects of the transition and development.

It is noticeable that the hallmark of this awareness is being aware and open to the aesthetic dimensions of political, cultural and social. Perhaps this property is that made ​​in the drama of Western Almitamsarh turns, at the same time, to a field to play the battle of ideas and the area of conflict of perceptions about the aesthetic stage in relation to Balambda, society and history.

The nature of theater itself helped to achieve this dynamic Almitamsrahih. Vmcolh conflict which constitute an essential element of dramatic writing in the play set up an appropriate framework to display the contrasting ideas and to develop different perspectives. In other words, Almitamsarh not find it difficult to cope with the phenomenon of the play, but the fusion, because the nature of the list on the conflict - the hidden and visible - in line with nature.

Perhaps Zaki these adaptations is the formula of dialogue, which adopted the text theater, which allow multiple votes, and thus provide the pillars of many different - and including the author himself sometimes - the opportunity to be heard and to express its opinion on the issues Almmsarhh, especially those related to the phenomenon the play itself.

It seems that the author has greatly benefited from this situation, because it is persuaded of the need to go out to the scene and speaking out for his own about what is written and clarify some of the aesthetic and ideological background, if necessary.

I have met, then, the phenomenon of internal factors related to the play itself (the conflict, dialogue), with other third-party relating to cultural Bachirorh to make Almitamsarh effective action to translate the dynamism of the western theater. This is reflected by a clear stand on the basic phenomena in this stage are:

- Conflict theaters.            

- Reincarnation of the capillaries of the play.

The phenomenon of the "clash of theaters La querelle des Théâtres "Reflected in the texts of the play adopted the methods of confrontation and competition and the trial, so that the conflict in which the nature of the intellectual and literary, formed poles basic creative playwrights, critics and theorists and philosophers of the theater. In the play" The Frogs ", which lays the foundation for this phenomenon Almitamsrahih measured against two authors Msarhaan Trajadian two Aeschylus and Auribides to impose Mnzawarhama aesthetic and political cross-type drama is a tragedy. In "Almertjlat" by each of Giraudo and Molière, and UNESCO, we find a confrontation between the creator and his opponents, be they creative or politicians or critics. Perhaps the stand when these models would prove to us that the phenomenon of conflict theaters receive Many of the lights on the aesthetic and ideological dimensions of the phenomenon of play in the West.

The phenomenon of "reincarnation of the capillaries play," relates, essentially, what may be referred to by the Oedipus complex of the western theater. The ambiguities of Aristotle as the founding father,   Cast a shadow on the history and theory of literature on the history of theatrical creativity at the same time. Writing has become, since the romantics at least, to try to decode this node, and therefore reckoning with the legacy of Aristotelian.

The proclamation of Victor Hugo for "the need to remove his throne Aristotle Détrôner Aristote" open the door to the decisive changes in the poetry of the play. If the classics had made ​​the Aristotelian dogma or doctrine, not the perspective aesthetically relatively linked Bazareth, the revolutionary romantics has launched a new era of the text theater west engaged through poetry scene in the process of reincarnation. The get rid of the influence of Aristotle took the variations in line with the nature of the times and transformations. If he had taken showing the preliminary with the capillaries Baroque, Alkrotskih and realism, it will take a critical dimension in association with the phenomenon of "theorizing" self or laparoscopy author for his own account defined by the theater of the twentieth century century, which is the placement of the capillaries of the play. This placement can be considered a translation of the aesthetic spirit of the era marked the transformation of cultural values ​​and social and political rights reflected in the tendency to question the loyalties of all   And the tendency toward individualism in the daily and cultural alike.

For this, we can say that a true understanding of the phenomenon of reincarnation capillaries play - as one of the major tasks of the Mitamsarh in the West - does not come only with an interaction between the aesthetic and socio - cultural, into account. The difference between poetry and poetic irony Alberandeljh Albraistah epic poetry and the absurd irony is not a difference in the basic principles underlying the speech and drama, but also is a difference in visions, ideologies and philosophies that support them.