المسردة إعادة التشكيل و القفز بالنص السردي إلى توقيع جديد : قراءة في أعمال عزالدين جلاوجي نموذجا

Abstract EN

Just as the energy and the flexibility of the gym, the Algerian writer Ezzeddine Jlaoudji molds the scriptural / theatrical text, and reconstructs it with the blows of his artistic hammer to lift the historical curse which isolated it from the other literary genres, such as the literary narrative texts, so as to tie both, drama and narration, legally and provide the theatrical narrative text the honour of representation through the concept of ‘Narrative Drama”.

This gave it the power to break a new, moving and vivid path that envelops and homogenises under its cloak other literary genres such as poetry, folk tales and proverbs...etc.

The tremendous ability the theatrical narrative text gained makes it able to accumulate and overlap; giving the writer strength to return to his sacred narrative, re-constructing and giving a re-birth to its soul and to stripp off the scarecrow dress that deported the reader from it, making him/her beatifying the narrative text under the charm of post-modernity and holding a new friendship with it throughout this carrier wire so as to make a restoration of the ideas of the receiver by taking his/her hand to the stage theatre but through a narrative text style.

Hence, this article tackles the following questions: - First, how did the narrative text / performance and the reader become a hostage to the writer? - How can the author construct the structure of the narrative / performance text and re-construct it? - Does he attempt to recapture the narrative drama text that has been weakened in recent times due to innovations and technological developments and which have ignored it? -Finally, how does he convince the global reader that the theatrical text is a narrative text before entering the field of presentation?