الخطاب التجريبي للمسرح العربي المفهوم والدلالات

Abstract

The emergence of a new concept reveals, consciously or unconsciously, that there is a flaw in the cultural context that must be explored and analyzed for the sake of renewal and vitality. It seems that this is what actually happened in our cultural context, where the concept of experimentation appeared in order to update the theatrical cognitive system since the beginning of the eighties of the last century, especially with the recognition of the establishment of the Experimental Theater Festival. In the research problem, the researcher raised a central question, which is the relationship between the concept of theatrical experimentation and the prevailing authority (Foucault's concept) in society, and from this central question, a set of questions emerged: 1- Was the experimental theatrical discourse able to create a break with the mechanisms of cognitive authority in the production of theatrical performances? 2- Was the experimental discourse in the performances presented as the subject of the research a continuation or a separation from the established theatrical? 3- Was the experimental discourse able to create innovations at the level of construction and aesthetic foundations? 4- How were the experimental theatrical performances able to organize the theatrical space through theatrical language (audio and visual signs and scenography)? The importance of the research lies in: Critical awareness of heritage in vitality and honesty and without false reverence has become a necessary requirement until we reach the true critical awareness of the self, which is the first step on the path to establishing our true cultural identity. The theoretical framework included the following topics: (Arab theater from authenticity to experimentation), (theatrical experimentation: concept and implications), (theater and the provocative role in its experimental framework), and (experimentation disrupts the prevailing discourse.