Almitamsarh philosophical dimensions of the phenomenon (Abel) and structural Hermnotiqih (Chmilng) and the thematic and rhetorical (Pavas). Almitamsarh and as far as references to itself and focuses on the ways he occupies himself with the special, as far as reflecting the view or position of the world and things, and as far as creating the product and the receiver in the theater and the situation well.
Based on this, we see that the earliest conception to take cross-cutting thematic Balmitamsarh is the scenario that takes into account the structures of its constituent, and the linking of these structures Bsyakadtha own. Therefore our perception of the Mitamsarh on two foundations: my hair and explanatory; a perception that we consider Almitamsarh:
1- a dramatic form based on double Allobeih and self-reflection.
2- structure is based on the thematic issues of dramatization theater, literary, artistic, social and political ...And so on.
3- rhetorical structure allows the author to engage directly in the imaginary and the expression of his play.
4- vision of the world reflect the perspective of the author or the era in which it belongs, at what surrounds it, and allow, therefore, the link between structures and contexts Almitamsrahih excellence.
To complete this scenario, we note that the specific embodiment of the phenomenon of theatrical plays a key role in determining the structures and functions of different Almitamsarh. So, we need to be considered in the light of the types defined by the dramatic history of the theater.
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