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Meta Theatre ironically: "Six Characters Looking for an author to" Berandelo .. Almitamsarh Study of the conversion to a creative knowledge and presence in the same

Is the play "Six Characters Looking for the author of Six personnages en quête d 'auteur "   (1921) theatrical work, the first in a three-allocated by the Italian writer Luigi Pirandello Luigi Berandelo IT theater within the theater, and include this text as well as my play: "... or so as well as Comme ci ... ou comme ça "(1924), and then" improvise tonight Ce soir on improvise "(1930). Due to the importance of the play" six figures "in the course started, it was summed to provide between the idea of how to set up the play and within the context of any theoretical and aesthetic should be developed.
Berandelo stems from considering the mystery of artistic creation like a natural birth, so that the artist receives Rhimat germes Many of life without
Knows how to give birth to one of them or how this child came into existence. Perhaps this is what happened to Berandelo, actually, with the six figures that emerged from an imagined live and decided to go out to exist. For this, no wonder that we find it ironic form of talking about the "imaginary reality of the six figures".
Moreover, the   Berandelo confirms that the formulation of a theoretical position or cash, or to imagine any work of art just before or after the work is useless. So that these issues be "alive not because it is spoken by the cash, but because it is directed to express themselves through art; as long, then, is defined by the thought of Khalis, which reduces the temperature and installs it and kill her focus, of course, formulated as issues, but because they are directed to display by Art in the framework of the structure and form is the same reason for eternal life".
These signals are - in our view - the background of intellectual and aesthetic Mitamsarh Alberandelj, as reflected in the play "Six Characters". They can be summarized in two major components:
- Actually imagined La réalité imaginaire .
- Abannana Structuration   Technical issues of criticism and theory.
The first element involves a paradox, but he found, however, justified through a text begging technology "play within the play" Berandelo known that its use has some kind of exaggeration in his work. The second component, constitutes a private conviction has is the fact that the play is the only right framework for the formulation of a vision of the theater, located in the same time.
This double bond Mitamsarh Alberandelj is that we tend to monetary stance adopted by the Abel says, "that is the realm of epistemology Berandelo Epistémologist Almitamsarh and not the world of his Ontologist "(89) , because Berandelo Almitamsarh made ​​in the "six figures" Mbgesa creative knowledge and presence in the same time.
Perhaps meditation   Gaúah in structures and thematic quality of the play that would support this interpretation and makes us look Almitamsarh Alberandelj not as a technique or art form, and by, but as a vision of the world is expressed through poetry Dderstih you to the heart of the concept of simulation.
Pool play "six figures" between the two paths of the characters: the first is a family of six figures came in at a theater manager tells him that she had "drama" and is looking for an author. As long as the author you are looking for is not here, "the drama has not been, and will be shown, on the contrary, is a comedy, this attempt failed in all its tragic, and as a result of rejection that I received in the six figures". The second group, they are elements of the troupe engaged in Tdaribea led by its director.
Trying event in the play, then, to hold a meeting impossible between two worlds: one is the imaginary world of the band that lead her play, and the second is a realistic world of the family that insists on the performance of the drama of life itself because it is convinced that no one can represent the truth of this drama. So, father - despite his admiration for the band to perform a scene from the family drama - believes that this is contrary to the truth:   
"Father: True, the actors perform our roles well. But for us, this is something  
Last abuse wants to be like us, but it is not".
This position was expressed by the father was the subject of dispute between him and the manager and thus the basis for resolving the different perceptions about the relationship of fiction to reality, nature art.Rather, this juxtaposition of positions taken in the play as a pretext to highlight the contrast between Charitin: one an extension of Aristotelianism and the second by a coup.
In this context, we note that the play "Six Characters" review the most important principles upon which the Aristotelian poetry, including: the concept of probability and necessity, simulation and illusion.
The father asserts that the search for potential madness. So, address the Director, saying:
"Father: Sir, I say that insanity is to look for a possibility under the pretext of illusion to the truth. This  Madness, let me tell you that the only justification for the existence of your career".
In order to explain to him the importance of the background upon which he was a real live pop-up figure of the imagination of the author, the work of the father to clarify the relationship between fantasy and nature:
"Father: ... No one can know that you are the best that nature uses human imagination to complete the process created in the level of more named".
We understand from this statement that the imaginary, and thus the art, can become a model emulated by nature. The Berandelo face - by a father figure - a blow to the Aristotelian simulation by making art at all, and instead of a model for the simulation of nature. So, no wonder that we find it asserts that "the attack by Berandelo against art as a simulation, a very radical, so life was destroyed at the same time".
In the framework of this poetic antibody - Mhakatih Anti - mimétique , Resides Berandelo
They met last between reality and play. While focusing stepdaughter on the "real drama Drame Véritable , "Manager tries to convince her that it's about theater, and can not be performed unless it is what is playableJouable . However, in the play interesting is the lack of boundary between the worlds of reality and play.They overlap to make a technical Machiniste Himself confused by it who shall close the curtain at the time the request of the Director, announcing the end of the scene of the play multiplier.
Within this overlap between the worlds of truth and raise the question of stage illusion. If the manager is trying to clarify the intent of the illusion of reality through representation, the father does not hesitate to declare his position, saying it outright:
"Father: illusion? Please do not talk about the illusion ! Do not use this word that is harsh                    For us in particular".
The noodles, which crystallized the play "Six Characters" is, then, to the heart of the concept of simulation, and hit probability and illusion, and the merging of fact and play. If the father has confirmed that this philosophical poetry find corroboration of relativity, the Director has expressed displeasure to transform the theater into a kind of philosophizing:
"Director: Taktabon will not leave you to no end ! The drama did before everything; did not philosophy "(96) .
But Berandelo - the play which was written primarily for the development of poetic irony - does not care about the dramatic act only in terms of being a tool for the formulation of cognitive and existential conception of man and life in a relative world, where everything is subject to the coup and transformation.
Perhaps this concern philosophical master of "six figures" that drove Bernard rounded to emphasize that "the key element in Alberandeljh is not the exclusive technical innovations [...] but it is to enter a space in between the action drama in the true sense of the word of any sense of natural drama, and between Display [...] So, what is not offered by Berandelo drama itself, but the drama within the intellectual awareness of the character. The theater tragedy (or comedy) for thought". It seems that this analysis goes in parallel with the nature of theater Alberandelj the same scene as a thinker and a thinker on the one hand, and with what was expressed in Berandelo Tnzirath when he spoke about the importance of drafting the technical issues and monetary theory   On the other.
If Berandelo has been adopted in the formulation of a new poetic orientation relative to the double play and thematic self, the template quality required by the perception of a genuine and distinct must be true to the spirit of relativity. So long as we are in front of "Gap - have not seen before - on Balsirorh creative within the framework of the verb", this process is capable of being transformed, in the context of this act, either a comedy or tragic.
The family came to present "Drama," her; the course of the play quickly turned in the direction of comedy, and this is reflected in the search is futile for the author. But this same fruitless search will turn the status of the family to the tragedy. This dynamic flexibility and quality that opens the door for the event in the play to take conflicting views on an ongoing basis, translated - explicitly - perspective assigns the relative poetic text as a whole. There are no boundaries and the final between comedy and tragedy and drama. Pushing on to say that the play "six figures" to Athblor poetic text and theatrical, but also goes beyond that to formulate a lattice of new types of drama, we believe that the most accurate description of it is: poetic irony that broke comedy in the heart of tragedy, and generate the tragic in the depth of comedy.
It follows from this analysis that Almitamsarh in "six figures" puts - in monetary terms - the dramatic form itself into question, and work - from the standpoint of the theory - the crystal lattice is founded on paradox and reject Aristotelian-style simulation. It is noted that these endorsers Aljamalian pour in the direction that makes them "both ideologically Un Tout Idéologique Wants to understand as well as for
Founder of the bourgeois theater".
So, it's not as - it went to   Paul Louis Paul Louis Mignon Mignon - To "return to the creative art to find a cure for the psychological concern". This dimension of self-Mitamsarh - even if we assume it is true - melts deep in the dimension of the objective that makes the play "Six Characters" a breakthrough in the history of creativity Theatre West, not at the level of aesthetic form drama and by, but on the level of "ideological form" as well, which emphasizes the relative absence of the object and the consistency and harmony in life and the absence of logic, contrary to the claims of bourgeois theater.



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