تمثلات التجريب في المسرح العربي المعاصر
السيد حافظ انموذجاً
DOI:
https://doi.org/10.59767/2024.05/29.6الكلمات المفتاحية:
المسرح، السيد حافظ، النص المسرحي، التجريبالملخص
يُعتبر العمل الفني رؤية جمالية متجددة تتميز بالدينامية والحيوية. منذ فجر الإبداع الأول، سعت الفنون الإبداعية للخروج من معطف التقليد والتأسيس للتجديد في الصياغات والعناصر الفنية، استجابةً للتغييرات الفكرية وغيرها. يُعدّ الفن المسرحي من أبرز الفنون التي جربت في بنيتها ومضمونها وشكلها، نظراً لمرونته وتغييره الجوهري. ساهمت الأوضاع الاجتماعية والبيئية في الوطن العربي في دفع المجربين المسرحيين نحو التجديد.
كانت المسرحيات العربية والمصرية تقليدية حتى أوائل السبعينات، حيث بدأت محاولات جديدة للنهوض بالمسرح المصري. كانت أولى خطوات التجديد هي مسرحية السيد حافظ التجريبية "كبرياء التفاهة في بلاد اللا معنى"، التي حطمت القواعد التقليدية في التأليف المسرحي، مقدمة رؤية جديدة للشخصيات والمكان والبطولة.
استمر السيد حافظ في هذا النهج التجريبي في مسرحياته اللاحقة مما يعكس رغبته في التمرد وشغفه بالتجريب في التأليف المسرحي. بناءً على ذلك، يتناول البحث فرضية تحليل سمات تمثلات التجريب في نصوص السيد حافظ المسرحية، وانعكاس ذلك على بناء النص المسرحي. أهمية البحث تكمن في تقديم دراسة حول نزعات التجريب في تأليف السيد حافظ، مما يفيد المتخصصين في الدراسات النقدية المسرحية. هدف البحث هو التعرف على تمثلات التجريب في النصوص المسرحية للسيد حافظ.
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التنزيلات
منشور
كيفية الاقتباس
الرخصة
الحقوق الفكرية (c) 2024 Abdulsattar AbdThabet (Author)
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