Indicates Mohammad Yousuf star in a play presented to the texts by Jacob Snoa, the latter published the play "Molière Egypt and profoundly regret" "in 1912 while he was living safe in Paris". What we were to take this signal into account, not for the context in which they were received suggesting that the text was known in two versions, which reflected his writing, clearly, the compact nature of the texts Intertextes Which invoked Snoa in his play, especially as they are clips from a previous plays differ from the original wording of the form in which they appear in the text of the "Molière Egypt and profoundly regret." The atmosphere of freedom and safety in Paris may Snh Snoa order to express his views and speaks frankly about his experience, and that is what it is not possible when he was in Egypt. This is given great importance as long as we look reflects Sosiothagavia is no doubt that its effects on the structure of the text Almitamsrahih clear.
The first theater rooted in the mind of the reader, is that it was a "comedy of representatives Comédie des comédiens , "Which opens the horizon to compare the" impromptu of Versailles "to Molière. Indeed, the airspace and structures confirm that we are in front of an impromptu actually, but Snoa unnamed as well. A position is justified if Rbtnah conditions of the emergence of Arab theater. Breakfast Establishment and rooting requires dealing with labels quality circulation and a dedicated and close to the potential capacity of the recipients of the Arab at the time. for this preferred Jacob Snoa and call it a "comic novel representative." In contrast, the income status of "improvised", at that time, perhaps not in favor of the consolidation stage Art within the emergency Arab soil, as long as this status are associated with - in terms of language - manifestations of improvisation and chaos, manipulation, and exit from the system.Perhaps it is given to the Arab theater from the reaction within the cultural and political circles endorsing this interpretation.
There is no doubt, that the background Almoliyria strongly present in the writing of the text Snoa since the title until the last scene in it. Indeed, the famous phrase echoed by Molière in the right of representatives within the Mrtglth: "Ah, representatives ! These exotic animals that we have leadership, " Cast a shadow on the play Snoa.
If improvised Molière had written to reflect the "clash of representation" in the theater, The improvised Snoa diagnosed the same conflict, but the difference lies in the fact that the conflict is of character here is not technically and politically, as is the case when Molière, take as much as physically and socially distant relation Bmaich Representative and dignity. Moreover, Vsmrahih Snoa based on the multiple levels of representation in us before the representatives are trained and understand from their dialogue that they are preparing for the performance of a group of Alcolmadiat in the evening crucial not matched in importance only evening that was longer Moliere with his band in Mrtglth, which was to be held in Palace of Versailles before the King. If Molière involved in the preparation of his band, the "James" the band's manager in the play Snoa directs his representatives and prepare them as well. All this assures us that the text of "Molière Egypt and profoundly regret the" out of the coat Molière, and inspired Mrtglth heart and mind. Thus, the most prominent component Mitamsarha matter of concern, and presents himself to the reader from the outset is the text parallel Paratexte The same, especially as it relates to the title and provided the list of characters.
La Paz from the reminder of the importance of address to the reader. Is "interested in - in practice - as a" first sign "of a work, and a willingness to submit to the historical traditions, and played a primary content is a coming-fronted or referring the first [...] The information provided - despite the fragility worthwhile".The model in question is not worthwhile to Ascservh the content of a text, but also because it reduces the structure of the text Almitamsrahih whole in relation to the author on the one hand, and artistic and cultural context that surrounded the writing of the play the other.
Title of the play consists of two components share a Snoa F. kindness: the first is interpreted by the title compound is an additional "Molière Egypt," and the second is a phrase open to attract significant suffering: "What is profoundly regret."
The title referred to in the title, launched by the Khedive Ismail Snoa Jacob himself, and that especially known for providing good comedy acts, honored him with this title, which has become since that time, another name for this man have dealt with the Arab Students of theater. For this title the presence of D in the context of the play itself, so that gives - through some sort of measurement on the Snoa the same importance given to the Molière in French theater, and that is what refers to personal Stephen: "Stephen: From _khasos cousins James enough praise newspapers of East and West in it.
Dargel Scientists have seen him as a unique era. What a work of Teatro before him in Egypt and the Arab Ffenddin Blessed by the well-being and goodness, because we played in front of him Smahmollier. Moliere is the founder and Altiatrut Frensawih, and cousins James Builder Altiatrut Arabic. It is the time in the transmission of Abdeen, and in what departments and government offices Hdsh call James Yamun Sher, all of whom tell him Iamsao Molière.
If the The first component in the title indicates, then, to the relationship between theatrical power and patronage of the latter has a moral (the distribution of titles) - especially if his art is based on the Zaniness and entertainment -; the second component undermines these data, and makes the title an ironic tag striking, especially as he refers to the cruel suffering of Molière Egypt. Which disclosed the text on the lips of James as a mouthpiece for the author:
"James: I mean, what Asahh only and do Teatro for the children of the Arabs, what Nbna him but my mind and my honeycomb. And I was financial and I have a network Old uniforms mud, Avatar is what introduced me to the pool. The Lord of the Worlds. You are a comfortable Mthenne, and the worries away from me, Today, Old entered Altiatrut, and engaged in written narratives raised Ansleyt and Intelv current and left me the students were disrupted Ochgala and left me Insulation and enemies, of jealousy newspapers on Nazlen. but I take Kidd and tip enemies, the Shan willingly the children of my country".
Highlights of this section, clearly, that Snoa made his play for the mirror itself, which turned his life by abandoning his original profession of teaching, which is a trend towards Theater in a difficult time.
Thus, the initial data provided by the title makes us suppose, from the outset, we are facing an autobiography, Mmsarhh Almoliyria on the way. And as much as a biography of the playwright is the path of the pioneers of Arab theater, as far as what the mirror reflects the difficult beginnings of the foundation of this stage, thus endorsing the initial point we started at about the intersection of Almitamsrahi and realistic in the theater Altaesela Arab.
Perhaps this is what supports more than this preliminary conclusion, is what came in the introduction penned by Snoa the form of a letter directly to readers in which he says: "I present you gentlemen Salami and Thita and respect. And I wish all Effendi and Mucyo and Senior, of glory and happiness and pleasure, and I ask you, dearest brethren, from a believer and an Israeli and Christian, stuffed from your love my heart, beloved, I have Koladi that tolerated each mistake Avatar find one in the DVD version, and the Lord bless you in the millions Balmih. Now therefore R_khasoa me tell you, Cram is Qasih in the creation of Altiatro Old established since forty years, the days of Ismail Old At that time, we were with him, dearest friends or. sometimes laugh and sometimes cry, and sometimes Ckroa, and sometimes complained. of the novel follows you explain the presence of continental dock on the fact Altiatro Arab and how my thoughts".
This link provided Bzmnha play, any time of Khedive Ismail, Che also to reflect the fact that they mirror the Arab theater and the fact Snoa ideas and perceptions about this theater. The central Moduatha, then, is the issue of the establishment of Arab theater and took out of the terms subjective and objective.
In this context, it is noted that the relationship of theater power accounted Snoa interest is to make it engage in a kind of Alastaiham evokes it, perhaps, the relationship Molière Louis XIV, which led him to acquiesce to some of the positions expressed by the Khedive Ismail at the theater. Of that, what refers to Mohammad Yousuf, a star on the command issued by the Khedive to close Snoa theater. Moreover, there is the appearance of political theater in the biography of Snoa supposed presence in the play highlights the fact that his ideas, he says. Asked Mohammad Yusuf Najm, in this context, "where plays politics by Snoa and which led to the closure of his theater. Seems to me that one reason for having Snoa to close the theater was his own political and its relationship to the beauty of al-Afghani and the episode, and for founding the" Forum of progress "and "Lovers Society in Science" in 1873, bankruptcies, which hit the stage of physical and financial difficulties that hindered him".
The play "Moliere Egypt and profoundly regret the" focus on the physical component and keep quiet about the political element. Perhaps this explains the trend toward Almitamsrahi discourse into narrow Sermata us because we assume that this letter makes us Narco on the fact that there Those which in the play.
I have replaced Snoa this fact to transfer the play to the subject of a dispute over the issue of partial between the writer is director of the band and their representatives, namely the issue of fare. He knew the real enemies of the theater, but Achtzelhm representatives in the band but only by reference and allusion to some Fundamental difficulties, as a matter of freedom, for example, by trying to make it more comprehensive issues associated with them as a matter of civility and progress. And the following dialog between Habib and James embodiment of this:
"Habib Allah Bakchi what you write us stories, remember where the word freedom and love of the homeland and warriors. And not say to the Arab Altiatro zakaat Rahim, and remained Alhaddq understand we go back to the old play.
James: talk strange, C, O Habib, but these words are beautiful, and in place correctly, but all the Teatro founder and creator of novels, Mlzum is all the duties, the duties of information Has Aahabib, which is that the intent is Balemrash civilization, progress and discipline".
Live theater, then, Mtejelha on the basis of a simple tale about waiting for the band's manager James and the author of representatives to the "Altiatro Arab" at a time when these delayed the deadline for offers to prepare for the evening, they were reluctant Metric over the house of their colleague to discuss the need to claim their wages for their work in the theater. This demand has created a split among the members of the band, and reached to the James echoed through the form of bargaining collapsed evacuated collapse psychologically strong Elyaltvkir him to commit suicide, except that representatives Tdarqua and abandoned it, temporarily, their demand until after the crucial evening.
This story has been elaborated in two events, one in the spin Darmitri and events taking place in the second "Altiatro Arab." Have been taken as a means to highlight the difficulties faced by the Snoa in the establishment of theater, and an excuse to Mtarahh issues related to the theater in terms of his concept, his themes, his job, his relationship with the public and the suffering of the Representative.
If the play was based on a thematic Mitamsarha known is subjective, this procedure is adapted here with questions stage, any time with the rooting practice play in the Arab culture.
One of the high Snoa tried to draw attention to it, the conflict stage With the public opinion embodied in the attitudes of some critics. This was the attitude you see in the theater the embodiment of corruption and breezing in and out of the system as was found in some newspapers to publish small at these positions in various political and cultural circles. At the beginning of the play we find metric tells Stephen what you say in the newspapers In regard to the right of James "Altiatrut Arab":
"Stephen: Take and read Journal de famous in Alexandria, disgraced and discredited and reviled Altiatrut Arab origins as being from outside, and her novels are written in colloquial language".
The play raises a fundamental question here raised a real war in the Arab theater from its inception to now, namely the issue of language play, so that the element of language was considered a critical factor in rooting the Arab theater, when he listed the use of fluent Arabic an essential element to achieve this requirement. In contrast, notes that "when the first element Zaniness is Snoa dialects". Therefore, we find that comics based by Berber dialect or turkeys, or Syrian, or a foreign accent who speak Arabic as of Ahna or broken. It is this component Allahja essential in this type of theater. Perhaps the justification for this is the form which Almolliera, emulated, and which make it in a real predicament paid to the question: Did the Arab theater has taken a true breakthrough Bastnadeh on Molière? Can not say that the justification Snoa reveal a paradox in the discourse between the Arab Altaesela establish the components of such drama and interest in the mother tongue?
There is no doubt that this problem has become a chronic issue in the Arab theater, and this is not The breakdown of the modern. But it must be pointed out here that it reveals the appearance of a very important cultural aspect adds to the political question of rooting, made a play Snoa mirror for the same author and his time at the same time.
Perhaps these dimensions are the same that made the job Snoa occupy the attention of the theater in this biography Almmsarhh, particularly as it was linked to the issue of fundamental cultural dimension is: What is the use of outsider art for Arab society during the nineteenth century?.
Fjms - the mouthpiece of Snoa in the play - confirms that the core functions of the theater is "civilization, progress and discipline." If we look at these words, we will notice that they are part of the Dictionary of the Renaissance, which means that Snoa he wants to be involved in the theater of the largest and most comprehensive challenge to the Arab nation at that time, ie, belonging to the challenge of modern times.
It follows from this that Almitamsarh Altaesela form a key manifestation of the Arab renaissance discourse, and as well as its structure explains the swing between the thematic issues of self-play and comprehensive cultural issues.
In order for the theater, in turn lay the foundations of the Renaissance, he must stay strong relationship with the public. Has already been noted that the element of Zaniness count of the most important bridges to build this relationship in the eyes of Snoa, but otherwise have been able to experience the docking and penetration in the conscience of the public. So, he takes his play of the occasion to pay tribute to the role of the Arab public in the consolidation of his experience, to the extent that representatives of the rebels have accepted to play in the evening for people who love them and support them: "(All Allaaben and Allaibat Habib, except to say:)
Playing tonight at Shan willingly eyes Mucyo Father James, and Ffendina and gentlemen, people Default Baahbuna. Because if you do not Ashmal setting their sights on us, and attendance every night to us, what the Arab groomed Altiatro true and Anchehr, Khaddewena success and proud".
If Jacob Snoa fought in cases of comprehensive major cross-autobiographical thinking intellectual renaissance, which believes in the role of art in the change of civilization, it addressed many of the issues cassette a profession which is also believed that the theater can not lead his letter, unless there is a strong infrastructure, etc. Pole is not a major concern which is the representative. The suffering of the latter part of the suffering of the writer and the founder of the theater, and translated the play on the lips of a representative:
"Metric: if he is Hiran we are violin Tabanin, Yama miserable existence Allaaben. States, O sisters Glpanin pockets are always empty, and with da whole envied. If Mcio in the road, poor breath narrowing, of the humiliation and Althazeeq, and joking on them and Altqriv. And if one of them wanted to show his love and goodwill, and for those who want Aazza heart, tell him we are in Altiatro Ya Wad".
The metric here, reflecting the image of actor and man of the theater in general within the community is not accustomed to this new profession. Was not easy to convince the public opinion the usefulness of the practice of art and Thvebah called "theater" as long as deep-seated moral vision which is paid to the reactions of cynical about the actors in their daily lives.
Advantage of this, then, that the rooting stage and faced the Arab war against the dual facets: Interface elite cultural and political ramifications, then the interface of public opinion: the first was aware of the danger Fatharabh theater, and the second were not enlightened understanding of the role of moral wrong premise and made it oppresses his men.
Based on the above can be said that the topics Almmsarhh in the text of "Molière Egypt and profoundly regret" for finding out what can be called, the "war of rooting" in the letter Almitamsrahi Arab, a war which differ in their tools and dimensions of what we called in advance to "conflict theaters" in the drama Bank.They intersect with it in the conflictual character of the year which converts text into an arena of conflicting attitudes and ideas, but they differ in terms of the confounding issues Bachkalat public theater is in the depth of the society, politics and Arab culture in general. In other words, rooting the war theater in the play turns into a war Snoa civilized connected to the entire generation, is the generation of Arab renaissance. If the "clash of theaters" in the West may count a translation of the kind of extravagance cultural embodied in instilling the values of debate and dialogue and disagreement, dialogue and democratization of the ideas of the play, the "war of rooting" in the Arab theater translate historical necessity pressing them dimensions of psychological task in overcoming the frustration of civilization.
The interest of these major issues Snoa not dissuaded from providing his art form based on a Mitamsarha dual aim of: strategy intertextuality and technical theater within the theater, so that notes that the play is based on the fusion and the creation of a merger between the two procedures.
From here we can distinguish in the text of "Molière Egypt and profoundly regret" between the two types of intertextuality: one implicit and explicit second. The presence of the reference framework Almoliyria qualitative and my subjects of the text is inspired structures reveals the "impromptu of Versailles", is Tnasa implied. The explicit intertextuality, it seems clear through Snoa include some comedy clips plays the previous ones, in particular, the play "stock" and "Abu Rida and heel good or barbaric" and "friendship" and "Junkie." Does not evoke the wonder of these texts within a play based on the base Sermatah, and is a self-review Ribertoar the part of the strategy underlying the text, especially since the latter wants to be a testament to the owner and his time at the same time. In order not to keep this appearance Altnasi outside structure of the text of the play, the Snoa tried to make him part of the process Dramatizing the multiplier, so turn every moment Tnasih to the level of a representative of the second degree. Vmitri, for example, refers to the comedy "stock market" begins, just, in the performance section of them, and the agreement Matilde and Habib on the performance of the comedy "barbaric" makes them embark in the diagnosis of their roles in terms of mimics is "Abu Rida barbaric" and the assumption is "its last." Thus, the play puts us about the practices of the theater within the theater A manner that serves Alsermata orientation of the text.
If the structure of the text this way recommend the description and Smonah him, a biography Almmsarhh, what has brought him Snoa manifestations of humor and laughter makes this biography takes another dimension is the dimension of cash. However, the criticism here is not directed towards some kind of theater, or about a particular person, as it is directed towards the whole reality of living under the weight of cultural frustration and take a negative attitude about the interface of the Renaissance and urbanization is the face of the theater.
It follows from all this that the play "Molière Egypt and profoundly regret" have drawn the main lines of the practice of Mitamsarhah obsession stems from rooting. This practice has taken different dimensions, Sermata premise was drafted instruments play, and extensions made this a civilized practice of cash and carry out its functions over the historic reality of Arab and closed on itself, all the manifestations of centrifugal engage in modern times.
