مستويات الوعي في مسرح الكبارية عند الأديب التركي (خلدون طانر)‎ : مسرحية (شعبان منقذ الوطن)‎ أنموذجا

الملخص EN

political theatre is considered as a historical event that appears in times of suffering, to be an effective tool in the hands of writers concerned with their home issues.

Political theater writers work to make readers comprehend their political vision during the absence of the law protection of the free-thinking.

The political theater role emerges through a symbolic envying sometimes, and other times the terrible pain that a society suffers at a certain historical stage, and becomes the play writer, the theatrical event, and the theater symbol.

They are the only possible expression in such circumstances of the millions’ suffering, and the political theater remains with a clear goal which is to incite and provoke awareness for change.

If the satirical character is added with its influence and ability to draw attention to the playwriter with a political content, the effect will be great in moving public opinion towards a specific goal that this or that cynical writer will adopt.

The political (cabaret theater) represents an Arab theatrical form of inciting political theater, with a satirical character that is characterized by boldness and force of confrontation.

This theoretical form represented the Turkish theater in the 1960s of the twentieth century.

The Turkish writer (Khaldoun Taner) is considered the political pioneer (cabaret theater) in the Turkish theater, and the test was made for his play (Shaaban savior of the homeland) because it is one of the first models through which the cultural Turkish was known on the (cabaret theater) where (Khaldoun Taner) presented a lot of artistic elements that criticize Turkey's political situation in the 1960s era, that period during which the administration of state affairs in Turkey was transferred to the right-wing (Justice Party AP) with an Islamic background which angered the Turkish left wing and did not deal with the matter as a natural result of the democratic experiment that Turkey adopted, but rather saw in this that the state deviates from the secular system that established its foundations are the founder of the modern Turkish republic (Mustafa Kemal Ataturk), and it relies on the rule of the Ottoman Empire with an Islamic character which Turkish left thinkers described as the ages of darkness and backwardness.

Therefore, writers of the Turkish left-wing writers directed their literary creations to motivate the Turkish street in general and the educated elite in particular to reject this experience and lead to change.

The research adopts the generative structural method by proposing the French-Roman nickname (Lucien Goldman) because the creator of the prophetic text is considered a collective actor expressing the awareness of a social class to which he belongs, and it is struggling with another social class with its special perceptions of the world.

That is, this collective actor translates the aspirations of the social class that grew up, and shapes these aspirations, or the world vision that expresses them in an artistic and aesthetic form that analogs with reality