If Meta Theatre in the "Festival of Almhabiyl" was held on the basis of trial imagined Arab embodied in the tales "Thousand and One Nights" and Rawitha Scheherazade, the play "Find a man with eyes only" adopt the appearance Almitamsrahi on the same basis, a trial imaginary Arab, but During its latest incarnation is the scene of "shadow" and the famous Almkhaal'm Daniel.
If the first trial had inspired its Gaúah of the "Thousand and One Nights" itself, the second trial had chosen Almiskina small formula closer to the spirit of the theater and shadow at the same time, is the structure of representation which were set up Dramatorgia based on the sequence of the secretion of shadow itself is so-called "Alababh." Alababh and, as is well known, is one of the play shadow plays. I have known Daniel Bbaptin known instances are: Lubaabah Lubaabah nice imagination and a strange and wondrous.
The structure of representation as embodied in the text of the play Almiskina small Ttatr aesthetic and ideological perspective at the same time, epitomized by the crisis are repeated from the son of Daniel, which confirms that: "Son of Daniel: Indeed, the largest of the imagination".
If we go back to what I'm rather consult for Daniel Almkhaal heritage, we note that this is the same perspective that formed the basis for his vision for shadow. He said: "It describes in his own doorstep" gentle fiction "of the art Zla Excellent" classified Babat promiscuity .. Whether painted Characters and chapters grouped, and Khalot combination, and Gelot wax curtain, I saw wonderful example, that the truth than fiction,".
It follows from this, that no small Ckny Istouh only tool Altejealah (Zla representation) of the Son, Daniel, but taking with him the principle upon which the foundation and of the fact that the truth or reality than fiction. The difference between them in the nature of truth in relation to the time of each and every one of them, especially since Almiskina tried to update the structure of representation Zla and labeling features of his time.
The event in the play "Find a man with eyes only" on the dialogue between the old and Daniel Almkhaal Krakizh, especially the spectrum of the imagination. These imaginary creatures are trying to shake the dust of the years Mkhaylha and invites him to re-move it again, and out of silence, and edit them from moisture and termites. That they want to age in the diagnosis of a farce, and a new life suited to the new time. So, I propose to Daniel collected in section reflect new issues of the day and pests:
"Alkrakiz: O our teacher unanimous in its Title new ... Make us something strange.
As a young man: to characterize the war and peace.
Sheikh K: the siege and famine.
Karagozh: we represent what is happening in the conferences.
As strange: diagnose exile.
Alkrakiz: We trades, wholesale and tongue .. We harvested tree pruning Handal Give us the role of the candle and lamp .. The role of the ax and the storm .. The role of rain and floods and rivers .. The role of the dawn and day".
In spite of the insistence Alkrakiz and push the Great, the Son, Daniel could not cope with it, because it is based than meets the eye of Al Gore and the tyranny and corruption in the "reality more than fiction." For this, he feels that "this land does not accept the language," and therefore calls Alkrakiz to keep away from him. But the insistence Alkrakiz soon will lead them to a painful fate as Schnq and stiffness to the gate of the city because the diagnosis expose the many aspects of social and political corruption.
We have to make this determination I'm convinced that Daniel Game diagnosis "does not solve the knot of the tongue", and it must move from words to action. For this, making it suitable for the trial of this announcement and the new evangelization Bbabh third open to the public and the future:
"Son of Daniel: .. people told the judge that I sir .. Next castles and third Alababh Beginning of the verb".
To bring this attitude of the public, and thus updating the speech I'm Daniel, I turned the play, in the end, to address directly on the tongue nice fantasy:
"(Nice fantasy .. enter the vehicle and pay the Fund .. combines Alkrakiz Almuslobh and Almhenwqh and put it in the cart)
Imagination: .. My children have told people .. .. Burned children in cities, urban children imprisoned Your children, children of tomorrow .. These images really moving behind the curtain .. Chosen in the next Oaaadkm Krakiz beautiful Tchksoa beginning of the act .. Say in the introduction .. Cry .. We call the theater announces the truth, condemns the trade in people .. O people, they moved next Krakizakm north and right to move home .. And Ohjaraloutn .. Methods of home .. Stone home .. Sea World. Valababh beginning of the third act !! This scene .. I'm Daniel I flagrant commandment .. You are my heirs and children of this country, they moved Krakizakm the next, in order to move home, trees home .. Sea World .. Stone home ..".
If this is what is happening in the world of objects imagined by trying to shape a new reality, there is another world in the play is shaped features parallel to the first world through symbols Kholako tyrannical and large traders and the sheikh of dervishes, who confirm their actions they represent the social corruption and political in a society that I'm Daniel . As long as the degree of atrocity of this world are not in one level, the levels of diagnosis ranged between Mahakata and also the extraordinary (scene embodied by priests of science fiction).
The structure of representation in the play structure Almiskina small mirror Spéculaire Disclose the text operates as a mirror of the same hand, and reality on the other. The first dimension is reflected by thinking about the imagined Zla, trying to restore Alkrakiz recreational and critical role of the shadow of corruption in a society of social and political domination. It is this depth of thinking in the imaginary Enbges thinking, in fact, the dimension is determined by the features of the second mirror of the text.
It seems that the play of the same background Inspired by the aesthetic of the shadow, also regain the same function that was carried out by this form Alfaragoa in ancient societies that excreted. Despite the ban, which addressed either in some cases, led to the burning of Characters and tools - also indicates that Dr. Abdul Hamid Yunis - this art have continued to "perform his duty as a mirror Ciloh see where the community its defects are common joy in the hearts of onlookers, listening to sermons, It is here marked by shadow in all its history, including nature of the cartoon exaggeration to highlight the defect, and confirm the status and prejudice should be of the fit between parts of the drawings, and in this expression other than a link to the human will the will of the stronger ones. This expression is philosophical is the first elements of farce in the drama, and we mean no psychological integration in the image is displayed, with a lack of
Appeal to reason in retrospect ".
The formula that Abennin the imagination in the play Zla Almiskina conjures these aesthetic and critical dimensions, but they are not interested in metaphysical dimension to this art, which explained Abdul Hamid Yunis, as far as what the diagnostic ability of the new reality. Therefore, the assets are humor and irony and caricature imaging is strongly present in the play, because they are essential mechanisms in the criticism of reality. In this context, we find Krakiz Muslobh and hanged, and the sheikh of dervishes drunk, and the priests wore clothes diagnosed science fiction, semi-naked dervishes move blindly march down or Kalnaúmin.
The announcements by the play, in the end, in the form of intent or insights, is living pillars, in fact, through Mtejelha. The "theater of truth" which talked about nice fantasy based on the principle set in advance, the son of Daniel himself is the fact that "more reality than fiction." Therefore, the diagnosis of such a fact is not enough alone, but the word should be crowned already. Arguably, then, that "the theater of truth" in the text is provocative theater Krakizh his own, with his ideology and the obvious "move home" in order to change it.
The structure of the representation Zla become a base for establishing the concept of a theater, it is noted here that tries to represent the spirit Albraistah structurally and visionary as well. Then, turning to Albabat sequences to establish separate, and hit the illusion, and push the viewer to contemplate horror of the new reality. The culmination of theatrical illusions call to action in this fact, highlights the reproduction of an explicit function of the theater and talked about Brecht.
The Arabs are, therefore, small Balmiskina trying to create a kind of aesthetic play of convenience between the Western and the poetry of the drama Mga based on the structure of representation Zla. Perhaps this is what has made "Alababh" Dramatorgih epic series, and to make representation based on the strange and sometimes to detect the game play sometimes. But not for purely aesthetic goals, but in order to make the ideological goals of the theater actually in fact contribute to the change.
It follows from this, that to divert the attention of experimentation in the text theatrical Arab towards the imaginary - as is the case here when Almiskina small - has opened for the exercise of Almitamsrahih new horizons made versions of the traditional formulas modernist, and allowed the playwright to engage, a kind of freedom, structures of different stripes with the possibility of creating harmony among them to serve the aesthetic writing on the one hand, and their relationship to their betterment from the other. Words one can say that engage in the fantasy drama within the text has made Bristaa I'm Daniel, and on to Michael Brecht induced to convert the theater to do in reality.
