Izz al-Din wrote civil play "Office of Zinj" at the beginning of the seventies, which represents a model of dramas inspired by the aesthetic merits of the Arab heritage, based on the awareness of intellectual and artistic heritage, and up to deal with the expressive potential. This awareness is reflected in the clear "statement" issued by the Izz civil his play, and addressing the "Office of Zinj: Statement on the use of space theater in this Court," which emphasizes the indispensability of the use Erkah multiple and varied sizes and height in order to diagnose this Court, in particular, and that inspired the principle of aesthetic heritage is the "digression."
To clarify the background controlling inspired with this principle in the "Office of Zinj," says Ezz civil religion: "We have already the author of that used in the literary impact of the former entitled" Coolie and girls "
Some of the aesthetic qualities contained in the literature ancient Arabic "singing" to Abu Faraj Alosbhana, and "animal" of the protruding, and the "interestingness and sociability" Abu Hayyan monotheistic, and "Kalila and Dimna" of Ibn al, and "the disciples and cyclones" to the son of a martyr Andalusian .. . He re-use of these characteristics more accurate in this Court Theatre. These aesthetic properties that do not pretend that old Arabic books might be mentioned, and it was a mainstay in the ancient Arab literary establishment, as well as being popular in the ethics of the Middle Almtuare in the foot. It is to the concept of "digression," which made him the author principle aesthetically essential assisted him in "Coolie and girls" In this Court Theatre in particular to gain a theatrical innovator, and enabled him to install the drama complex flexible, physically, interactive too, Bella Gedaliah, and helped him turn away or almost all the Western theater techniques - classic and modern pioneer of it - and him thanks to all of that to approach more and more of the ground of mind, that does not have it deliberately, especially in the past civilization, and thus in the current popular reality".
Be understood from this statement to say that the civil Arab heritage is not substantive but rather a formality. Relate, primarily, inspired by the principle of beauty is a "digression," which helped him to create an innovative form of theater is characterized by flexibility, mobility and interaction dialectic, and saved him from the influence of Western technology, whether classical or modern. This is in addition to being its proximity to the Arab mind.
Civil does not want us to understand from this statement that comes from a look Tkadisah heritage against rejecting the view of the West, as much as he wants us to understand the value of the aesthetic possibilities that give us the heritage, and that we are dealing with how to make our issues are to contain the current, controversial perspective.
For this, if the digression may be an aesthetic principle known in various forms of writing classical Arabic, the civil trying to adapt to the reality theater, and incorporation into the theater through the "multi-Alerkah", and thus through multiple levels of the diagnosis. Valasttarad here, will shift from "technology in the literary construction" to "technology play", or rather to the technology Mitamsarhah. Perhaps this is what Ncicvh through the selection that gives civil to dwell on the basis of previous Arab perceptions.
He says in this regard: "and" digression "in the old may follow in the types of literature, poetry, story, and the article, and wrote the language, rhetoric, and jurisprudence, interpretation, and history, which is what is going on the axis on which the classification of events and purposes, and speech, and salt, and humor, and seriously, and parables, and lessons all of which are as impulsive, and entry into intuitive, and convulsions Queen, with no links, no cover, nor depth, in order to entertain the reader and the listener and the Avadthma. It is perhaps also the one who called the "defect" in authoring the old Arab, a overlap in the purposes, and overlap in the conversations, and throwing words at face value, and stacked on each other. It is perhaps second narrative accounts of multiple, possibly contradictory to a single event. Perhaps Thirdly revenue analysis and interpretations of many a comment on what Gamad in one of the molecules of a novel. and digressions I have is the one In broad outlines, and in the various levels that I mentioned and I have not mentioned where all the partial associated with other molecules of its component, and interact with them, without Aattabat, no amnesty, no mixing, but deliberately and intentionally, in order to acquire a really complex than most of its aspects. Therefore, proposed at the beginning of this statement to be Erkah this Court Theatre many different levels to suit what is in it from the drama".
Clear from this definition that the Izz al-Din Civil - despite its reliance on outdated perceptions about the digression - Try to develop a special concept we can distinguish between the two main dimensions: After the aesthetic and ideological dimension. The first makes it a complex Qsidia for a group of molecules or details that embody the play by multiple levels of representation with a multiplicity of parallel spaces Alrkahih. And the second makes him a sort of surround the overall complex reality. As long as reality does not present itself in the form of a single homogeneous, but in the multiple images and contradictory, the theater can not be absorbed only be done by "theatrical digression," which should predispose space conditions diagnosed.
Persisting in the dramatization of civil digression, it offers a text based on a "celebration of mass," or rather "chamber theater" Taatzafar the forms of expressive arts Athiamn different perspective and the audio-operative.
In light of these data, should be put play "The Office of Zinj" in order to extract the nature of the functioning of the practice Almitamsrahih, and the absorption of the aesthetic and ideological dimensions at once.
The play "The Office of Zinj" on the basis Dramatization history and hopes of these demobilized at the same time. So, articulate text Erkaha through three different levels of diagnosis: the first is a drama based on a theatrical event, and second Mitamsarha questioning the writer of which play different issues, and the third narrative is based on the historical novel.
We can say in front of the text is governed by a dialectical structure includes a thesis and the antithesis, and synthesis final have. Thesis embodies the dramatic event relating to the Council of Zinj, a Atdarc crucial issues related to War and peace, and tries to re-negotiate and agreement with the delegation of Bani Abbas on many controversial matters. The sense that the thesis is, in fact, the historical event as the point of view is the view of the author of the SAI, which is confirmed is the same when it intervenes directly in the stage II:
Author "at the end of the drama in the stage I:
So I read the history of the revolution Zinj. I did not comment on it Teilqa personally. All the apparent intent or fear does not exist except in the mind of the spectator. I am innocent of all aberration. I am innocent of any distortion. I am innocent of all interpretation".
This historical perspective embodied theater finds its opposite in the historical narrative of the Revolution of Zinj in the words of Tabari, author of "History of the Apostles and the Kings", which will provide a picture quite different from Zinj and their leader, Ali Mohammed, who describes his revolution to "sedition malignant traitor." But watching the drama, which diagnosed Zinj theatrical revolution, soon it will have a new installation is a corrective point of view adopted by Tabari and announce the need to review the history of the New:
"Abu Ja'far ibn Jarir al-Tabari: (at the end of the drama in the stage I)
I returned from Basra, manure and appalled by what I saw. I am what I have written references in the history of the Apostles concerning the Kings Revolution Zinj. O people, listen bless God does not count on my book. I chicane revolution Zinj were not sedition, Ali bin Mohammed was not externally. Currency and bogs were not slaves. Reviewed the history ! See our heritage ! Lord blessed Vzd".
The dramatization of history in the SAI is not a goal in itself, but is only a pretext in order to reflect and rethink how they are dealing with the heritage and history. Then, based on the mechanism Valdewan construction and demolition, the demolition of any historical perspective distorted revolution Zinj and considered sedition, and building alternative perspective tools assigned to play an intellectual awareness of the correct perspective first.
We have made this situation for constructive playwrights: Building Haddthe diagnostic, and another in the first meditative thinker, any Mitamsarha. Both constructive and based on a digression. However, it is noted that the two take different aspects related to the job assigned to him either in context or in context Alhaddthe contemplative.
In the stage first be marked Alyalasttarad script, with the quotation
And scenic or communicative function. In the first case is a sort of digression or Gleam of retrospective recall, which was diagnosed through the scene of an analog multiplier regain era of advocacy and the establishment of the revolution of Zinj in secret. So, here Valasttarad associated Dramatizing a kind of multiplier. In the second case took a job where communication was assigned to the same role entrusted to the presentation that usually apply in the traditional theater. I have used as a means to provide the official delegation of the Abbasid who came to negotiate with Zinj, to the public.
It is noted here, that the author himself who undertook the task of following submission. Valmsarhah confirm that the writer is involved in a theatrical event in the process of thinking in this event, at the same time. For this, he takes an author's site - the epic sense in which he talked about Sarazak in the "future of the drama."
If the digression is an integrated component within the structure of dramatic event in the stage first - which makes it Gaúaa digress - it is taken in the context of Almitamsrahi Rkh two other dimensions Mitanasih Tnasih and at the same time. Then, we note that the author goes out to the front to engage in a barrage of questions about many issues of concern to the theater, including: how to build an Arab theater, what the theater, the topics of the play, the game play, the possibility of rewriting the theatrical heritage ... etc., and also interfere in order to comment on the dramatic event which spin and amongst the first in the stage.Perhaps the comment function following barriers to the exercise of Mitanasih digression.
Moreover, in the stage II Valasttarad become Tnasih practice through which to evoke the poetry of Rumi laments Basra and Abu Ala address the kings of the country, Yahya bin Khalid bin Mohammed Ali satirizes the revolution of Zinj, in addition to the scene of heart-Hallaj. It is noticeable that these texts are in the context of the whole event perfect stage performance in the stage first. Whether it's for this digression Almitamsrahi function Mitanasih or Tnasih, the background is controlling the historical reconstruction of the facts surrounding an objective manner in the various manifestations.
Accordingly, Valmsarhah line, from this angle, with Strh civil in his presentation when he emphasized that its use translates the desire to dwell in the acquisition of complex reality. Zinj revolution can not be surrounded by single-letter historical trend and orientation paradigm as Tabari, because the facts and faces multiple tangled, her supporters and opponents, and council was not homogenous and democratically All his movements, and to the extent there was a Intellectuals backers as much as the work of some of the fight.
In line with this vision to reality by trying to take over the complex discursive aspects of various civil chosen template qualitatively characterized by the same flexibility, interaction and is characterized by the dialectic digression, not a template "celebration" or "Court Theatre."
Vasnad recipe to the theatrical version of an old well-known is the "Court" that sense of "community newspapers", as stated in "the tongue of the Arabs," shows that the multiplicity of languages and forms of expression is the foundation for this work. Indeed, P "Zinj Court," a play based on a combination of perspective and audio-operative.
It is clear from the foregoing, the Izz al-Din to civil created the conditions for adapting his play practice with the structure Almitamsrahih Gaúah heritage is digression. The number of Alerkah Mhhdia, Theatre and many of the issues related to the theater, and engaged himself as an author in the event, commenting, criticizing and sometimes and other times a scene. The structure has a digression, aesthetically, the possibility of flexible and dialectical structure of the scenes of the play, and allowed him, from Alnahihalaediologih, should take the historical reality in the various manifestations, and the ability to develop a unique perspective in this case, free from distortion and misrepresentation.
