Theatrical performance as a limit is able to change the context | ||||
| Arts and Architecture Journal | ||||
| Volume 1, Issue 2, December 2020, Page 50-86 PDF (1.31 MB) | ||||
| Document Type: Original Article | ||||
| DOI: 10.21608/aaj.2020.234701 | ||||
 View on SCiNiTO | ||||
| Author | ||||
| Qassem Mounes | ||||
| Researcher | ||||
| Abstract | ||||
| Classical thought continued to dominate aspects of literature and the arts despite the many mutations and transfers from one school to another, and from one sect to another, but the general view of literature, criticism and the arts in general remained the same, and it was unable to control these trends and transform its path from these From the side to the opposite side, until ideas and premises appeared, the aim of which was to “develop new patterns of thinking and behavior based on the desire for reproduction, not reduction and unification, and in contrast, not in symmetry, and separation instead of communication, and in other words, different, multiple, diverse and dissimilar patterns arise. Identical, mobile, not fixed and stable () The main idea in establishing a new style in literature is the idea of deconstruction, as these concepts or philosophies must be dismantled in all their aspects and an attempt to reconstruct this deconstruction will give new meanings and concepts, diving into detail and measuring all distances and reconsideration In all agreed matters and trying to reformulate them in a new and innovative way, deconstruction depends in its formulation on the destruction of all idols that had a history in human thought, and therefore comprehensiveness and generality are among the most important characteristics Deconstruction is not a philosophy and a science, it is not a method, nor a theory, nor a doctrine. | ||||
| Keywords | ||||
| Theatrical; performance; context | ||||
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