If Berandelo has helped lay the foundations of knowledge and aesthetic on which the Almitamsarh in the West, the dramatists the Arabs had taken from his experience as a tool to establish the type of practice Almitamsrahih in the dramatic text the Arab make it enrich this text, and gain new techniques in the writing and vision.
If the theater criticism Arab did not notice, prominently, to this side, but we no shortage, however, there are some studies that stood on the relationship between Berandelo and Arab theater, including, in particular, the work done by Dr. Hassan al-Malki on "the impact of Berandelo in the theater of Tawfiq al-Hakim, "explaining that the impact on the level of writing techniques and especially the technology inside the theater
Theater, and the level of vision, where the attempt to Hakim dramatization of conflict between being and becoming and its impact on the issue of communication, "that this position is not the only element which reflects the impact of Berandelo in a theater-wise, but there are other elements such as the" theater within theater "and" signals Theatre "(Compare, for example, that between the imaging start with the play" Six Characters Looking for the author of "The photography of preliminary play" I See the tree ")".
If these features referred to by the Malki attend different levels in the writing-wise, it is embodied by the play "Othello, horses and gunpowder" (1973) to Abdel Karim Rashid in the framework of a strategy Tnasih comprehensive and well-defined dimensions, do not stop at the level without the other, but taken from the structures Gaúah and thematic Althompsrahih and in the comprehensiveness, a framework for this intertextuality.
It is clear that the difference between the frame and frame Altathrey Altnasi based nature of the obscure vision in each. So, approaching them systematically requires awareness of the limits between the comparison and interaction script, "so that" intertextuality "no" to compare "between the texts dealt with similar subject matter, or the inter relations of vulnerability and the impact installed. We know that the work of" comparative literature "is organized on the basis of a comparison between the two texts: the text of a previous check historically, as the first text, original and effective influencing others, on the one hand, and between the text of a later historically the first, as a second text and copy and subject to influence, therefore, on the other hand [...] The "intertextuality" it avoids, but turns quite this basis differential, which is necessary in any process of "comparison", required, or hidden, as it drops the principle of the comparison itself, and makes the text to study the structure itself, but contains in its elements and their relationship is pulled by the texts and reality before and beyond, and articles realized in the text - or referred to implicitly or explicitly - in the grammatical and semantic structures, are the "facts Altnasih".
The facts Altnasih take other aspects related to the nature of theatrical text, and are controlled by the opposition here, the context of the Pastiche Hosted by the text of "Othello, horses and gunpowder" in relation to the text of "Six Characters Looking for an author."
The play tells the story Rashid six figures are: Othello, Mr. Mystery, Shahryar, Alboho, fourth and spring; a group of representatives have read an advertisement in newspapers and on the walls of the city announced that the Administration theater fog want to contract with representatives accustomed to the roles of evil, they signed the contract and come to the theater to wait for the director on stage. To mitigate the impact of waiting, he entered the six representatives in the game of representation in the representation after which originated on the scenes of the play were assimilated these representatives are denying them the way out when he arrived. Every one of them saw the character of its path connected to the private Ftal Yago saw it, and when Judah saw Alboho and Shahriar director who saw it as making new Shahriar. So, arrested him and put him in a cage for his trial.
The process of representation made the multiplier output is surprised and confused by the illusion and reality, and reveals himself and tries to push them to forget their roles older, expressing his conviction competence in representation. So, when asked about the text, said he does not have a text ready, but project only, and Onkh wanted representation based on improvisation, which will allow, once again, the game of representation in the representation to expect in their families and representatives of the mixing of truth represented the maximum degree. Was reflected in what he had done Othello, who saw his enemy in director Yago (play Berrechid evoked on "Othello," Shakespeare) seized him in his death led to the representation to become a reality:
"Fourth: Look, O Spring strangling him .. he ..
Spring: Atmina Woman .. Representatives die more than once ..
A fourth: I mixed everything and promised a distinction between representation and reality ".
The story of the play gives us a reality Tnasih first embodied in the text in relation to the text of Berrechid Berandelo. If the latter tells the story of a family of six figures for itself for an author writes a drama of her life, the Rashid gives us six figures looking for a way to work with him. If the figures Berandelo has gone out to the presence of "reality imagined" for the creator, as we explained earlier, the figures Berrechid down some of the imaginary theater (Othello Shakespearean) or hiatal (Alboho of Gap rug), and down some of the other reality (the reality of representatives who are living unemployment).
Moreover, Vmsarhah "Othello, horses and gunpowder" - like a play Berandelo - Mtejelha evaluated on the basis of representation in the game representation which gives rise to the mixing of truth and illusion confusion play with reality. This game puts us at two levels of representation in the story overlap and merge in the other one:
- The level of the story of the first degree, or the story - the base, a story of the representatives who came to the scene of fog in order to work in acting, after reading the announcement in the newspapers.
- Tales from the level of the second degree, or tales double figures relating to the play, which was diagnosed Abrlabh representation in the representation.
It is noticeable that the narrative in the play is based on the combination of both sequential and overlapping and alternating without apparent that embodies the cross-cutting text outright, which makes us understand that this overlap Gaii took a ride to crystallize the kind of Dramatizing the multiplier, as is the case when Berandelo.
Because of this Dramatizing multiplier functions aesthetic and knowledge specific to the Italian writer, the Rashid tried to Istouhaha by invoking various actions Almitamsrahih underlying text of "Six Characters Looking for the author of" Modoatia and formality, but incorporating a distinguished vision, is what we call it here: vision of the ceremony.
Regain a play Rashid, Modoatia, a central issue in the bilateral Alberandelj imagined life / representation or truth / illusion. On the basis of confusion between them, the action drama in the play, so note that the figures do not stop the game of the transition in melts with the concept of personality itself, and that levels of play overlap how to make it impossible to distinguish between real and imagined, which makes us look at the text as a whole as the embodiment of the saying Shakespearean famous which considers that "the world scene," especially, and that the letter is trying to inform the representatives themselves this perception of the director:
"Alboho: You are way out but you Ottaghlna ..
Spring: ... Ignorant of our professionals ...
Q ambiguity: ... And our talents ..
Shahriar: it is inevitable that you review the scenes of the play ..
Director: something reasonable ... (To Othello) if you are not Othello? ..
Othello: Othello I
Director: representation only ...
Othello: Is life only acting? ".
The purpose of the confirmation of this statement is to give relative to the concept of reality, and through the events of mutant down, and characters taken to Bossa new every time, and revived, therefore, a life changing like the actors in the theater, which nearly distance and bridge the gap between fact and fiction.This perspective the relative form of the philosophical base Mitamsarh Alberandelj, Rashid also taken, not to reproduce it as it is, but for the adoption to see the ceremony we will reveal features of the analysis.
If placed truth and illusion have added a philosophical dimension to the text, the Rashid did not hesitate to contact after the topics of literary and artistic connected to the same theater. I stood on the play, including critical issues: the status of the representative, and function exit, the concept of conflict and the concept of improvisation in the theater.
The Representative raised the issue sharply since the dawn of Arab theater, as we have seen with Jacob Snoa, put in the play Berrechid otherwise. In addition to the physical suffering caused by unemployment, there is the suffering of others is the most severe mental suffering:
"Spring: a fourth. I am tired to go through the theaters, I am fed up lights and dyes .. What most miserable to be representative touched on doors in the kindness and modesty and ask the managers, directors, artistic life ..
Fourth: .. At the heart always leave Amani Baker. Leave in the Hawk Eye blooming green.
Spring: I am a poet and a writer and a representative ...
Fourth: .. But you are unemployed ...
Spring: .. Ill-received, are you?
A fourth: a fellow in poverty and unemployment and doom ".
This sheds light on the dialogue situation difficult for an actor who does not have the professional status of the continent, and living in poverty and unemployment. If this was the suffering embodies the appearance of the social reality of Representative, there is a reality related to the nature of his career, more severe and most severe on his being the psychological is the view of directors as a human being empty from the inside, devoid of all affiliations, naked of everything; so that they can re- His creation of the new.
For this, you Valmsarhah link between the issue and the issue of representative director, and lead us,
Thus, before the "demonic image director wants to involve representatives in the game of hell". It seems clear that this director satanic forces Xrahath Technical and psychological representatives when calls to the impartiality of all affiliations:
"Director: ... must Tenskhawa of yourselves.
Q ambiguity: Nnslkh
Director: and to give up on your past
Alboho: give up
Director: ... Qomatkm all affiliations and whatever they are. I want you to Taataroa ".
The play is based contact function to exit the ride its visibility inhuman, because it wants to turn actor to an object does not have any affiliation or collective self was, was temporally or spatially, ie, wants to strip him of the status of "human." Then, we can say that the concept of output in the play is dealt Berrechid not as a purely technical issue, but as an issue of ideology reflects a concept of man.
Perhaps fueling the conclusion of this play is how to deal with the conflict placed in the theater. Vmlameh conflict as determined by the director reflects the dimension of evil in his character, especially since it makes the ends of the core: the rights and strange creature who likes to hunt humans:
"Director: If not then know that I will return from the theater to the glories of the Rosary, I am Will raise the amount of conflict. God bless the old days. The man was a giant giant Fate is fighting, fighting unseen, fighting the unknown. Representatives were semi-gods were not people who are sick with colds.Were not people who eat dirt poor from their bodies. I will repeat to you Qamatkm giant and convinced you that inflation and the track sounds Sadkhalkm Odjalkm strange creature you fight .. ".
This strange creature embodies the hidden truth of the director as a symbol for what is against - human.So, it's like in the text Balgrab and owls and locusts, and the lion, that all animals that are on her life and fish predation.
If placed life and representation have made the text to engage in dialogue philosophical, and if the issue of the relationship between the director and actor has revealed beyond ideological; is placed improvisation will return the text to the same, ie to the case literary exclusive, and thus to the game mirrors the Interior, to discover, from the during which, some of the features of the so-called rebel celebratory writing the text ready to improvise and deal with a distinctive format:
"Director: I do not have a text ready. Everything in the hands of the project only. Lines need to color and the structure is expected to be clothed with flesh and blood .. I will you in the ring (push them in the ring) Come they entered. Admitted and then waited Chimes three (heard from the outside rate three) ".
The wording of the project or the lines that insists upon the director makes us understand that the text is built by improvising on stage, especially representatives and that it pays to it and just announced for the beginning. And remind us of this method is improvisation based on the so-called Balkhtath Canevas , As in improvised comedy. Perhaps this relationship between the concept of improvisation festive comedy improvised is confirmed by Malki said: "As the festival sees" that the concert theater is suitable for output than at home and translated into action, and the movements and sounds, "the play Othello - Kahtphal theater - equivalent in this situation comedy improvised by the resort to laugh and play with a convincing bombing of underground rights powder and the emphasis on the problems ".
There is, therefore, mixing between the three types of issues in the play: philosophical, ideological and literary topics intersect with each Alberandeljh, while others are formed from the secretions of an imagined text Rashid and see the celebration of man and the world.
This is equivalent to multi-thematic, in terms of form, but multiple sources Altnasih. It is well known that "intertextuality is derived materials from disparate sources, some of which formed amnesty or deliberately in the" Memory "by study and reading, ie in the stock profile, the conscious and unconscious; and some are shaped by experience the" conditions of dialogue "certain;, including what is formed when the quotation itself , and can be called: "Altqmich" also ".
Due to the persistence of vision of celebration in the text of Rashid, the sources Altnasih which assesses the imagined his play is, in most cases, sources of voluntary or optional draws on the heritage Gaii Arab (Thousand and One Nights) and forms of watching the People (rug), as it conjures up the memory world drama (Shakespeare).
But noted that these sources Altnasih not constitute, in fact, only raw materials for the strategy Tnasih inclusive based on opposition to the text of the Rashid text Berandelo, and to see the ceremonial check the so-called "time festive" based on coexistence and fusion of different times within the time and one (coexistence Shahryar, Othello and Alboho in the play).
The bombing of time in the play "Othello, horses and gunpowder," accompanied by the bombing at the level of the structure type. It is difficult to develop such a text in one of the boxes poetic drama species established by Aristotle, in particular, and that a combination of irony and black play convincing and tragic feelings, any chemical structure for a range of different situations.
Rashid said that in the writing of the text in the sense an experimental blend of comedy and tragic, but not in a way Turagiuomidea, but the way characteristic of Berandelo himself, who lives on an imagined theatrical coup for the permanent fate of the tragic fate of the comedy, or vice versa. Cavity, it is theatrical play (Othello tries to strangle the director) tragedy explode (die exit the fact). For this, if Almitamsarh when Berandelo based on paradoxes, this character junctions Aspect pardoxal Is stamped on the play Rashid, and makes its qualitative structure open to all possibilities.
Thus, the play "Othello, horses and gunpowder" in this specification, is a building block a preliminary to establishing what can be called a "poetic celebration", especially since the context of the time I wrote it - which is the mid seventies - is announcing the birth of "community theater festive" and exit of the first statement into existence, which identified the theoretical basis, intellectual and aesthetic of the festive scene.
It is true that poetic celebration begged in the text of "Othello, horses and gunpowder," a source of aesthetic requirements of the capillaries of Western drama, but this is understandable given the background Altnasih persistent experimentation in the Arab theater. And, above all, Fberhid resolve them, at least, the essentially ideological upon which this poetry through translation of the festive look to humans.
Have been upto this view, a text, the character of the director, who was considered a symbol of all human pain and suffering. Mr. ambiguity speaks to him, saying:
"Mystery Q: .. You are the spirit of evil in every place".
For this, the fate of the murder he received at the hands of Othello, was an expression of humanitarian stance of an object demonic confirm that all his positions against the vitality of life, and against human rights, and against a civilian city. We know that this is the crux of the Trinity ideological celebration, as confirmed by Rashid himself, saying: "Having identified the objectives of the celebration data as follows:
- Human rights.
- A vital life.
- And a civilian city.
The absence of any beast in man, and the lack of automation in the biosphere, and the absence of the jungle in the city. This can not only be available to create a festive community based on the exclusion of all
The forces of death and back to back ".
It follows from the above, that Almitamsarh in the text of "Othello, horses and gunpowder" based on opposition to the play "Six Characters Looking for an author." I asked Rashid about this opposition inspired themes and dramatic structures relate to the advance we called "Mitamsarh ironic." However, this Alastaih which reflects the response to a clear text between the dramatic and poetic Arab Bank, governed by a distinctive vision is based on the establishment of the so-called community celebration.
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The style of the article needs to be polished.
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