Process of the Western poetic drama in terms of the emergence of the creative process of theater .. Western culture and the interaction of forms of aesthetic ideology of implications

We have stood through this chapter, the process of poetic theatrical Bank in terms of emergence of the process of creativity theater itself, Msthoudran - of course - the public perception and flexible, which deals with the concept of "poetic" "as an area to think about the theoretical and the accountability of the proceeds of the texts achieved, did not stop at the limits of literary creation and manifestation of language in it, but sought attention and thinking to include Boutiqa select group of poets or poetry extract   A particular author or extract a general theory of literary forms, at a time".
In line with this perception, the focus was on various entreaties Almitamsrahih adopted by the Western dramatists capillaries in order to develop self or public through their creations.
We have adopted the innovations that we have analyzed structures of text are varied and include the double play, which took the form of a dream within a play at the Calderon, and the form of a play within a play when Chekhov and Berandelo, then the cavity literary, which allows text to create Mraiyah own, as is the case when Shakespeare; This is in addition to the adoption of a strategy intertextuality as did Chekhov and UNESCO, and was first used by how partial service Gaúah structure of the text, while the second was adopted in the aesthetic perception of a holistic basis parody.
In line with this diversity in the procedures Almitamsrahih, dramatic works, which has analyzed the trend of quality choices of authentic and distinctive approach suited to the specificities of "poetic" for each author.Vcaldron chose the "comedy" on the way in Spanish, Shakespeare turned to drama Alkrotskih. Mixing was - the other - between the tragic and the comic, not as a way Turagiuomidea known, but very different ways have made ​​us stand on the three aspects of moving away from each other, each of Chekhov and Berandelo and UNESCO. Moreover, Brecht tried to create a new type of drama that blends theory and illusions, and based on "the illusion theater."
If the theater - like literature - "resides on the edge of races expressive and rhetorical and nourished by interaction with other texts and inventories of memory and the unconscious, and hardware breeding that have changed, radically, the individual's relationship with his surroundings, and nature and the very special"(115) , the capillaries that elaborated texts studied - both those that remained faithful to Aristotle or rebelled against it - were associated in the consciousness of their owners attitudes and visions of the world take each dimension are purely subjective, and respond to each other with the spirit of the times in which they live creator.
Vcaldron representative of the Baroque par excellence, intersects heavily with Shakespeare representative of the times Alalezabita, in terms of Astnadahma together to see the philosophical and religious alike based on a combination of Platonism, which views the real world as a world of ghosts and illusions and dreams, and religious faith, which evokes a picture disrespectful to god that controls the in the "theater of the larger world." In contrast, stems of both Chekhov and Brecht Berandelo and UNESCO and in terms of one is the reality as a set of events and actions stemming from the human condition located within the specified time frame.
However, the deal with that reality differed from the creator to another. Vchykhov chose a realistic perspective based on the concept of "full simulation", and Berandelo reverse, in terms of a relative, image and reality is full of paradoxes, and Brecht made ​​him the focus of social contradictions and insisted on how to make it emulate uncovered, helping to change it. The UNESCO, totalitarian vision of humanitarian convictions led him to the reality of the evils existing in the depth of human conflicts before they become social and political manifestation of it.
It follows from all this, the reincarnation of the capillaries in the western theater was not a translation of the concerns of aesthetic or artistic sensitivities fluctuations in the Western and playwrights, but also is a response to the profound creative dates creative with it in their interaction with the surrounding cultural, social and political.
Therefore, we can consider that Almitamsarh one of the most basic windows that can be vantage from which the reality of the western theater, and thus the reality of Western culture in general, as a culture interact forms the aesthetic ideology of implications are large.

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