تجليات الشخصية الميتافيزيقية في النص المسرحي العربي

Abstract EN

Man has long aspired to find an equal relationship with the invisible forces that control his machinery, which are not subject to the laws of his physical world such as the goddess, superstitious beasts, ghosts, elves, goblins and other paranormal figures, and the speech of the theater in its beginnings was not far from including such super-characters, starting with the classics such as the ghost in the play of the Persians (Aeschylus) and the God Amphitruo, which manifested itself in the image of man and descended into the human world to get what he wants in the play entitled the main character (Amphitruo) by the Roman comedian author (Plautus) passing through Shakespeare and the Renaissance era, which included a group of metaphysical characters in his plays such as the magical fairies in the comedy "A Midsummer Night’s Dream" and other examples of unforgettable characters throughout the long history of theater.

The current research included four chapters, the first chapter addressed the problem of research, which was the question of: What are the manifestations of the metaphysical personality in the Arab theatrical Scripts? it also included the importance of the research, which was manifested by highlighting the fact that it is a philosophical cognitive achievement that deals with the beginning of a topic related to the study of human interpretation of hidden metaphysical worlds, and the need for research lies in highlighting one model of non-human figures in the discourse of the Arab theatrical script, and the goal of the research summaries : identify manifestations of the metaphysical character in the Arabic theatrical script.

The first chapter concluded by defining the terms and defining them procedurally.

The second chapter (theoretical framework) included three sections, the first (the philosophical metaphysical character), the second section (metaphysical manifestations of the metaphysical character in the universal theatrical script) and the third section (the pictorial transformations of the metaphysical character in the Arabic theatrical script) the second chapter concluded with the most important indicators of the theoretical framework.

The third chapter included the research community, the research material and method and the sample analysis, which included the script of the play "Cry of Death" to conform to the research objective.

The fourth chapter included the results of the research and the conclusions followed by the proposals, and the study ended with a list of sources and references.