التجريب و التراث الشعبي في مسرح فهد الحارثي : الحكواتي أنموذجا

الملخص EN

Since its inception, the theater has been associated with heritage.

The West playwrights the since the last quarter of the 19th century have started their rebellion against the classical stage and well-made play.

Breaking many rules, they have called for a return to the roots.

One of their means is the use of local and international folklore in their experimental theater.

The Arab experiments went in for using tradition folklore materials in their theater to get benefit from its richness, diversity and fertility, as well as its role in rooting the Arab theater, as evidenced by the Saudi theater in the theater of Fahd Radda Al-Harthy through three plays of him, employing the character of the narrator or the storyteller.

In his play (Antara the Myth of War and Love), the storyteller played his usual role in narrating the events and linking the episodes, sticking to the text of the popular biography, depending on the narrative technique based on description.

In the play (The spring) narrator appeared in the modern form of AL-Hkawati, in the opening and closing of the play, and his language characterized with modern decorative expressions.

The writer has invested this change to give the show its aesthetic value.

In the third play (Bazaar) we meet the experimental narrator through a very distinguished treatment, in which Al-Hkawati played a pivotal role.

He approached the monodramist character with his appearance as a depressed trapped person after the people abandoned his stories because of their preoccupation with the economy material aspect.

The play witnessed its gradual falling, and his diminishing ability to tell talls, which symbolized the decline in the demand for art, creativity and the victory of the economy over history, geography, literature and the arts