Structure of inclusion: "Festival Almhabiyl" by Mohammed Poor.. Poetry spoken theater open to the reality of it inspired by tales



Distinguishes the poor in the context of Muhammad explained to Mfum playwriting cash, or what he called the "theater of exile and martyrdom," between the two types of Arabic texts play: the text is the text of the memory reference under the authority of heritage, and the text is the text of a denial after knowledge and beauty. He believes that the Arab theater took place for a long time bump in the text of reference, which it missed the opportunity to consolidate the concept of real writing of the play deals with the Arab reality tools aesthetic. Therefore, the text of exile was considered, for him, Honas alternative because it stems from the writing really is a historic art tools.
The alternative version of this text find corroboration in a special concept for writing the play explains poor, saying: "The Writing does not stop at the borders of the dimension of knowledge
Otherwise become socially dull lesson. It is gaining legitimacy by subjecting the creative dimension of this knowledge to read the aesthetic. It is knowledge of the creative process, but the play itself. The practice of writing the play for two types of perception: 
- A general perception of reality is based on two basic double-edged side of knowledge and ideology.
- Recognition of the aesthetic perception I: cognition or perception".
In the context of this understanding should be put in double text "Festival Almhabiyl" as the embodiment of what he calls the text of the poor exile, its three components: cognitive, ideological and aesthetic.
The confirmation poor person on the beauty of writing is that explains the interest component is essential in the play "Festival Almhabiyl" is the component Gaii, and perhaps this is why Abdul-Karim Rashid speaks at the presentation of the play what he called "the power of storytelling," where he says: "The theater is also the story and what can be the story only as an attempt to control time. It's another kind of play, and that in search of a moment of waking is real. in the story is no room for the absence is no place for shops. Valmuty alive and the birds are released and miracles are possible. all of that by the authority of storytelling, which rearranges the world differently. show This power in the play (Almhabiyl Festival) in particular".
This course has been spoken authority embodied in the text through the structure derived from the heritage of the Arab narrative. It is a framework wrapper Enchâssement   Upon which the tales (Thousand and One Nights). If we were on a previous occasion had stood on how to make the poor structure of the modulated base Tmsarh (92) Here we will try to reveal how that made ​​this structure a support for Mitamsarh, especially before and we write "   Tnzirha carry within them.
They combine the practice of creative writing and writing theory".
La Paz from the reminder that the modulated structure revealed by Todorov Totorov On the "Thousand and One Nights" is based on the distinction between the story, including major Enchâssante Is the story of Scheherazade subject to the principle of "Tell the story and I will kill you," and tales, including EnchâssésAre the same stories that make up the "Thousand and One Nights."
Like this discrimination, the storytelling in the "Festival of Almhabiyl" the story of the play, offering great is the story of Scheherazade, tell - at the request of the judge - her crime and re-list the facts. The sum of these facts is what makes up stories Minor or "trips" that make up the play, which leads some to others.
The Benina Mga play like this make them engage in multiple levels of Abyei are around to create a framework for the integration and fusion of storytelling and play. And between the folds of this fusion is determined by the text in an ambitious proposal to play Gaúah poetic drama based on the reconstruction of the play is the traditional formula for the embedding. Daramatorgi component and plays a key role in this process as long as live cutting of the spectacular tale based on the sequence had not been seen in the Western theatrical tradition is the "trip".
The play is trying to, then, to remain consistent with the character of the narrative and dramatic at the same time. So, they are as far as investing potential spoken in the dimensions listed (the story of Abdul Samad for going to the hospital) and descriptive (description of accused Scheherazade in court), as far as exploiting the potential of the play theatrical, and the adoption of a shift in diagnosis, or words said by adopting the concept of role instead to give the concept of personal dynamic to play and get rid of the fixed natures formula upon which the classical poetry (Abdul Samad turns between the role of the accused and the role of the judge in court). This is in addition to the disclosure of the game play depending on the techniques of the narrator, who calls for representatives in the preface to enter the stage, as revealed on the theme of the play through a letter addressed directly to the public:
"P. Samad: Dear gentlemen, we will begin our meeting, as each one begins with his death .. and as we begin our Arabism   We begin our death .. These bring a night in our Arabism .. Prosecute the blood in us ..Bring a presence in us .. Bring a fantasy in us .. Layalina judged ..".
And decoding words narrator Abdul Samad, and open the game wide open to the public and make them more transparent, the judge intervened to explain to the public what will be in the play:
"Judge: (turning to the public) surely meet you ... and the night Ohoudani file that is not such as files. Each one of his heroes and beggars heads cut roots .. and all the poor lost their shoes. And lost his shoe   Lost his mind .. Bring a night of so-called Nights .. What is meant by Allah honor you book a thousand and one nights .. It is a book suspicious, you know, talking about orgasm, desire and things not spoken .. Book an abuse of our evolution and our culture .. The book talks about the cities do not like our city, a city   The splendor and the mind and gratitude".
It comes, then, to try imagined embodied in the Arab tales of Scheherazade. And explain to him Gmehorho involvement in the process of thinking and reflection on these stories and the concept of "imagination" the same as an essential component of playwriting as seen by Mohammed poor as seen in his statement about the "theater of exile and martyrdom."
The imaginary Kmoduah raise the issue of the play is an excuse to highlight some of the basic concepts upon which the denial in writing as writing aesthetic of reality. Perhaps this is what Ncicvh clearly address the judge as he spoke to Scheherazade:
"Judge: Beware of the imagination .. If you entered the imagination out of absence, and if out of   Absence entered the audience .. If it came out of the audience entered the certificate. If the   Emerged from Ch - entered the birth of the male .. If out of Alzk entered Debunking   .. If I stop shaming entered erosion, and erosion of up to O Asturna   Aourtna remain concealed .. You want a knife tearing    Alhajabuma secret Ya Shahrazad".
If the theater of exile and the certificate is writing a testament to its time and an account of him in the same aesthetic Echtzelha across components of the concept of "imagination," the Scheherazade becomes the symbolic founder of the theater is the actual founder, Mohammed poor. As long as this theater is derived from the basic Scheherazade his instrument, which is fiction, it is not surprising that attempts to Benina imagined in the play "Almhabiyl Festival" in its own way, using the modulated structure.
And so remains the "theater of exile and martyrdom" and true to the spirit of the play, the modulated structure involved in the contexts of Abyei to become a new ride for the double play. In this context, it is noted that the play included a form Faragoya is "Alouperet Operette "In line with the path of storytelling. This inclusion has been associated Bdnyazad tale of when she wanted to tell her story with the singing and the sound of them is lost.
The creation of a double play of this kind is justified in Mohammed Poor P "writing criticism and the certificate is to write physical all the details of the flesh and temptations, and this through the glory in front of people across the bodies of actors". and as such, they are keen on making it closer to the Arts literature (narrative poetry), art watching (Alouperet) at the same time.
In line with the repercussions of telling stories that make the breed and includes each other, resort to the theatrical representation of representation in order to diagnose some of the scenes related to the story of Scheherazade (the meeting between Scheherazade and Delilah, the Council of mankind between Scheherazade and Shahryar). So, Inclusion between the appearance of a narrative in which the roles are divided automatically between Sered (Abdul Samad, porter), and listed him (the judge who contributes to the growth of the narrative of his comments and his questions), and the appearance of dramatic scenes of the play is based on the double.
Clear, then, that the narrative in the "Festival of Almhabiyl" is the topic and the tool, is a way of thinking and the thinker at the same time. Accordingly, there is not a surprising overlap between the creative and deep theoretical text in this theater, is to become personal with him as a spokesman by SANA, reflecting the aesthetic and ideological perspective about writing the play.
In short, the play "Almhabiyl Festival" highlights the ambition of Mohammed in the poor establishment of the poetic drama Mga Arab. Base embodied in the concept of "imaginary", and determined its structure in the diagnosis of dual formula of "inclusion": Diagnosis of a narrative in which to adapt some of the components of narrative text with the playwright, and diagnosis of dramatic finds from which the text of the components of Dramatizing.
Poetry and spoken drama in the "Festival of Almhabiyl" after the last related to "cognitive awareness" poor person, who spoke with him in his theoretical. From here, we can say that this play as far as bearing indicators work falls within the so-called "contemplative forms", as far as it bore the marks stand out and contemplate the same reality at the same time. Prosecution of fantasy is, in the end, the trial and actually stifles the freedoms and confiscate the rights (the right in the imagination), and destroys itself of political corruption and moral (symbols are Shahryar, crows and Delilah) does not assess the effect of human values ​​inherent (infanticide relationship between Adnan and Scheherazade).
The poetic spoken drama when poor person, then, is open to the reality of poetry, inspired by tales of it, and on the basis of complexity and evaluate fabric amongst script that makes this breed includes tales to each other.


0 تعليقات:

إرسال تعليق