جمالية التلقي و التأثير في مسرحية النار و الزيتون لألفريد فرج

Abstract EN

This study aims to identify the aesthetic of reception and influence in the play (Fire and Olives) by the Egyptian writer Alfred Farag, where the reader became the origin of the production of meaning, especially after the emergence of the German trend in criticizing the reader's response, where the reader in the aesthetic of receiving became an ideal reader in addition to being a real reader who practices Its presence within the literary text.

What effects does this text have on the reader? How was Alfred Farag able to form meaning within the structure of perception, and how was the idea of the horizon of waiting manifested in this theatrical text? Did Alfred Farag agree with the Arab reader in the dialogue and the presentation? What are the technical technologies that Faraj resorted to increase the audience's awareness and participation in theatrical work, and was Farag able to bring out the idea of freedom from selfness to humanity? How was this text reflected in critical thought? The purpose of the study is not to search for the meaning hidden in the text, but rather to search for how to produce the meaning by reading and interacting with the text.

The text is an empty form that the reader works to fill its gaps, and the process of constructing and producing meaning takes place within the concept of the horizon of expectations.

This expectation is not just what is before reading the text.

Rather, there is also another type or another level that is formed from the beginning of the reading to the end and in it a permanent, continuous or renewed movement occurs, so the reception does not stop at time, but it is created at each time in a different way according to the recipient's social, historical and cultural experience.

Therefore, the descriptive and analytical approach prevailed over this study.

about the results, the most important of them are: that the play of fire and olives is not a play with a specific horizon, but rather with general human horizons that carries in itself a strategy that enables it to be a platform for the formation of freedoms in every country and is established in The Arab world for a comprehensive theater model that includes lyrical, dancing, mime scenes and shadow fiction.

And that receiving in the theater requires cultural and imaginative capabilities.

In order to efficiently interact between the structure of the text and the structure of the mind, and contributing in filling the gaps of the text and displacing the illusion of the viewer, the texts are based on the basis of probability, not the basis of certainty, and the pleasure of text in self-disclosure.