جدلية الانتقام في النص المسرحي النسوي

Abstract EN

Revenge represents an important addition and a central progression added by feminist writers about the problem of the theatrical text and its general debate that dealt with societal issues.

Feminist writers were keen on writing solid texts and choosing life experiences, live events and fertile characters and trying to promote and extract them from the plight they suffer from as they set out from the principle of trying to get rid From the ugliness and hatred that dominated the troubled personalities that lead to revenge and the value of man that is reflected in getting rid of that blackness that has clouded himself and his mind and trying to criticize the behaviors adopted by women on various levels in order to express themselves in a new and evolving way in the theatrical text.

Where the research included four chapters, the first of which was devoted to the methodological framework of the research.

It contained the research problem, which lies in the following question: How did the controversy of revenge manifest in the feminist theatrical text? And then the importance of the research and the need for it, and then the aim of the research is to identify the dialectic of revenge in the discourse of the feminist theater and then the limits of the research were limited in time to the period from (1976-2008) and spatially (Britain - America).

As for the objective limit of the research is (studying the dialectic of revenge in the theatrical text This chapter concluded by defining terms.

As for the second chapter on the theoretical framework and previous studies, it included three topics: the first topic / conceptual controversy in philosophy and in which the two researchers tracked the most important basic verbs of the concept of controversy through a historical philosophical narrative, while the second topic / the concept of revenge socially, psychologically and cognitively and in which the researchers foundations to the concept of revenge In various forms, as for the third topic, it concerned the textual performance of feminism and the dialectic of revenge.

The chapter concluded with previous studies and indicators that resulted in the theoretical framework, and the third chapter concerned research procedures including the research community that included (10) texts and the research sample that included (3) texts and research methodology and then The research tool In the post analysis of the sample, the researchers took three models concerned with the dialectic of revenge, which are (the witches) of Karel Churchill and then (adoration of Fedra) by Sarah Kane and then (American New Year's Day) in Lydiastarch.

As for the fourth chapter, it contained the results, including: 1- The dialectic of revenge arises from the contradiction of two parties, the aim of which is to displace the other side, in any way (Vedra's play, Witches) 2-The text is a space revealed by the feminist writer, in which it shows what it hides in daily reality, and the dialectic of revenge against negative social laws towards women (witches) is active.

3-Society is involved in retaliation against the individual if it depends on the belief and the senses in condemning and criminalizing the other.

- The reader has a role in determining the controversy of vengeance according to what the text gives him the condemnation of vengeance or non-condemnation (witches, Vedra, New Year's Day Vietnam).

-Society, if it is civilized or inferior, has a great role in the emergence and growth of the controversy of revenge or its relatively elimination (witches).

The chapter also included the conclusions, including: 1- Revenge is not new to the theatrical text, but rather accompanies it since the first text in history.

2-The diversity of revenge, its methods and subjects, so that it became the basis for philosophical, psychological and social studies.

Then recommendations and proposals, and the research was concluded with lists of sources and references and a summary of the research in English