There is a paradox fundamental inseparability talk about Almitamsarh, so that the modern term, which dates back appearance to the beginning of the sixth decade of this century in cash Anglo - American express - in fact - for an old phenomenon rooted deep in history theater, so can be considered the play " frogs "to one of the most prominent manifestations Erstovan her first.
Interestingly in the recent interest in this phenomenon, as well as the formula terminology, is a different viewing angles to it, as in time, which rose by some to express their vision of the world reflect the perception of theater of man and things, making them some of the other phenomenon of text levels of thematic or Tnasih. While the promise of some Arhasatha phenomenon known in the Greek theater as defined in the fainter
Under the school play or types of dramatic or eras literary (such as the parody romance in the eighteenth century), and fell - are forced - in the context of theater realistic of the nineteenth century; others emphasized that the term "Mitamsarh" called, in fact, the appearance of the modernist of the play that spawned the phenomenon of contemporary reality, this reality was imposed, events and perceptions of creators for these events "the death of tragedy" and bring Almitamsarh them.
To find out more closely at these perspectives, we need to review the definitions of their owners and to highlight the theoretical backgrounds controlling where, as a first step towards the formulation of synthetic perspective on the phenomenon that sees the need to link them with three basic elements:
- Process of theater.
- Type structure of drama.
- The process of production and functionality of the script.
