It follows from this analysis of the three models of Mitamsarh Altaesela Represents the owners of different generations in the course of Arab theater, that this formula Almitamsrahih the result of an inevitable historical and cultural urgency, but not stem from a desire to experience simulated Bank.
The need of the Arab community for ways to strengthen the art of emergency it, the Arabs made the playwrights are doing their part in the creation of technical conditions for the adaptation of the stage with the nature of the dominant culture. The different means of air conditioning, as we have seen in reversed Snoa about his experience of self, and he gave us both Ashour and Onos from reading history, tools and sometimes documentary and aesthetic altogether, in the experience of pioneers of Arab theater.
What was expressed by those making the text of the Arab theatrical mirror of reality itself, and at the same time, and this resulted in a trend of self-reflection within this text Arthunt, often, by virtue of the constraints of the cultural context, a cultural obsession is obsessed with rooting. So, it seems clear that all the practices that have stood Almitamsrahih controlled by this concern. He who was behind the many paradoxes of theatrical discourse in the Arab notably paradoxical belief that the art of theater intruder out of the question of Western culture, in parallel with the tendency to ignore this fact, inherently or circumvented.
Be understood from this that in the text Almitamsarh dramatic appearance of the Arab cultural issues related to the major theater of the Arab rather than aesthetic appearance. The models were analyzed by Chi manifestations of art in particular, Taatsady, on the one hand, with some hops Almitamsrahih Western, but tries, on the other hand, can produce formulas more suitable for Altaesela obsession.
In terms of infrastructure quality of the texts, ranging from a formula improvised turned to resume play with Jacob Snoa, and the form of drama documentaries that have been emptied of political content and converted to the thesis of cultural ties with Noman Ashur, then the formula of "text" open, which blends the real and imaginary does not pay attention to the poetic genre with Saadallah news.
If the lattice Almitamsarh in the West has remained faithful to the cause of type
Drama, the dependence Almitamsarh issue of rooting in the Arab theater has dictated other formulas sometimes intersect with the Western experience without the announcement explicitly (Snoa Almoliyria and improvised), but trying, often, the creation of the principle of compatibility with the basic case.
In terms of structure of text, we noted the discourse partially, mostly, with some practices Almitamsrahih Western Kaltenas, theater within the theater and the merging of documentation and Dramatizing; and that as a technology play and conscious sometimes not aware of other times, has not been upgraded to Bloh capillaries stand alone as we have seen, For example, for the Western Theater. And even try Saadallah news remains, ultimately, an attempt to test the application of epic poetry prepared in advance, on the context of Arab theater.
This attraction - embodied textual and qualitative terms - reflects clearly the dilemma which has been experienced by Almitamsarh Altaesela Arab, between a tool to establish the theater within the Arab culture, and that turns into a way to make the Arab theater involved, since the early stages, in the context of modern theater. Perhaps the attraction is the one who explains to some extent, why books Snoa impromptu did not mark it well, and why concluded Ashour his play documentaries of the thesis of political, as is the case in the West, and make them play with attitude culturally drop it in the bump another problem is the conflict of national and pan in the theater Arab, and why the books and news Tgraybeh play with all specifications, and forced her to look for extensions in the innate alienation that characterized the scene Abu Khalil Qabbani.
