Jordanian theater between matter, form and expression, 1965-1987: an analytical study
(المسرح الأردني بين المادة والشكل والتعبير، دراسة تحليلية)

Name: Jordanian theater between matter, form and expression, 1965-1987: an analytical study
Author: Al-Rifai, Muhammad Khair Yusuf

Title	Jordanian theater between matter, form and expression, 1965-1987: an analytical study
Title Original	المسرح الأردني بين المادة والشكل والتعبير، دراسة تحليلية
Author	Al-Rifai, Muhammad Khair Yusuf
Author Original	الرفاعي، محمد خير يوسف
Publication Date:	1441
Publication Place	Sharjah - Sharjah: Arab Theater Authority
Subject	History
Type	Book
Language	Arabic
Digital	No
Manuscript	No
Pages Count	236
Physical Dimensions	236 صفحة
Library:	University of Minnesota Libraries
Library Asset ID	ISBN: 9957674129, ISBN: 9789957674120, OCLC: 1294507994
Record ID	cdi_globaltitleindex_catalog_358218153
Library Location	Request
Date	1441
Notes	The book, published on the occasion of the holding of the 12th session of the Arab Theater Festival early this year, in the Jordanian capital, Amman, is an analytical study of the reality of Jordanian theater in the period between (1965-1987). In it, Al-Rifai, who during his career presented nearly 20 theatrical productions, written and directed, and won dozens of awards, shields of honor, and certificates of participation, looks at the elements of the dramatic structure in Jordanian theater, and the elements of the show itself. Through the analysis, the characteristics of the theatrical form and the distance between global origins and popular spectacle become clear. The book, which is 236 pages long and is published as part of the “Studies” series, which the Arab Authority is working on issuing, is sequential in its chapters, beginning with an introduction in which Al-Rifai states that most theater studies do not rely on three basic pillars in any theatrical academic research: the subject of theater, its form, and its expression (text and presentation). The art of theater, according to Al-Rifai’s definition, is: “a text displayed on the stage.” As for the material of the theatrical text, it is, according to the study, the intellectual visions and the sum of values that can be inspired from history, myths, and folk tales, or taken from the lived social reality. The analysis of composition in the theatrical performance is one of the chapters of the study, and the researcher also devoted an important space to the art of performance, analyzing and drawing results. The study/book starts from the hypothesis that Jordanian theater “has not previously received an integrated, systematic, analytical study of the text.” In the stage of emergence or the stage of advancement, and it did not receive an integrated, systematic analytical study on the development of the art of acting performance and the art of directing, and its trends and theoretical foundations. Three axes move the book in its horizons: the role of the Jordanian theatrical material and the local or global influence factors in it, the role of the theatrical form in Jordanian theater from the dramatic structure in the text and the manifestations of the development of this form, and finally: the nature of expression in theater and its contrast between the spontaneous stage that accompanied the emergence of the vocabulary of expression, all the way to the creative stage. Concerning this point specifically, Al-Rifai believes that theatrical expression usually begins with the stage of imitation and imitation accompanied by simplicity and spontaneity, and ends with the stage of creativity and the intertwining of artistic elements, tricks, and complexity of means associated with that stage that are compatible with the complexities of the era itself, and intersecting with the nature of the acquired cultural structures. The sixth chapter of the book addresses “the role of missions in refining the sources of theatrical expression and their diversity.” In the conclusion of the book, which includes an appendix on the historical background of Jordanian theater in the pre-study stage. (1965), the writer concludes that “any literary movement, in any field of artistic creativity, cannot be born in a vacuum, but rather arises and develops through practice and accumulated knowledge.” -- Bibliography: pages 212-225.
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University of Minnesota Libraries

Jordanian theater between matter, form and expression, 1965-1987: an analytical study

(المسرح الأردني بين المادة والشكل والتعبير، دراسة تحليلية)

Author Al-Rifai, Muhammad Khair Yusuf

Author Original الرفاعي، محمد خير يوسف

Publication Date 1441

Publication Place Sharjah - Sharjah: Arab Theater Authority

Subject History

Type Book

Language Arabic

Digital No

Manuscript No

Pages Count 236

Physical Dimensions 236 صفحة

Library University of Minnesota Libraries

Library Asset ID ISBN: 9957674129, ISBN: 9789957674120, OCLC: 1294507994

Record ID cdi_globaltitleindex_catalog_358218153

Library Location Request

Date 1441

Notes The book, published on the occasion of the holding of the 12th session of the Arab Theater Festival early this year, in the Jordanian capital, Amman, is an analytical study of the reality of Jordanian theater in the period between (1965-1987). In it, Al-Rifai, who during his career presented nearly 20 theatrical productions, written and directed, and won dozens of awards, shields of honor, and certificates of participation, looks at the elements of the dramatic structure in Jordanian theater, and the elements of the show itself. Through the analysis, the characteristics of the theatrical form and the distance between global origins and popular spectacle become clear. The book, which is 236 pages long and is published as part of the “Studies” series, which the Arab Authority is working on issuing, is sequential in its chapters, beginning with an introduction in which Al-Rifai states that most theater studies do not rely on three basic pillars in any theatrical academic research: the subject of theater, its form, and its expression (text and presentation). The art of theater, according to Al-Rifai’s definition, is: “a text displayed on the stage.” As for the material of the theatrical text, it is, according to the study, the intellectual visions and the sum of values that can be inspired from history, myths, and folk tales, or taken from the lived social reality. The analysis of composition in the theatrical performance is one of the chapters of the study, and the researcher also devoted an important space to the art of performance, analyzing and drawing results. The study/book starts from the hypothesis that Jordanian theater “has not previously received an integrated, systematic, analytical study of the text.” In the stage of emergence or the stage of advancement, and it did not receive an integrated, systematic analytical study on the development of the art of acting performance and the art of directing, and its trends and theoretical foundations. Three axes move the book in its horizons: the role of the Jordanian theatrical material and the local or global influence factors in it, the role of the theatrical form in Jordanian theater from the dramatic structure in the text and the manifestations of the development of this form, and finally: the nature of expression in theater and its contrast between the spontaneous stage that accompanied the emergence of the vocabulary of expression, all the way to the creative stage. Concerning this point specifically, Al-Rifai believes that theatrical expression usually begins with the stage of imitation and imitation accompanied by simplicity and spontaneity, and ends with the stage of creativity and the intertwining of artistic elements, tricks, and complexity of means associated with that stage that are compatible with the complexities of the era itself, and intersecting with the nature of the acquired cultural structures. The sixth chapter of the book addresses “the role of missions in refining the sources of theatrical expression and their diversity.” In the conclusion of the book, which includes an appendix on the historical background of Jordanian theater in the pre-study stage. (1965), the writer concludes that “any literary movement, in any field of artistic creativity, cannot be born in a vacuum, but rather arises and develops through practice and accumulated knowledge.” -- Bibliography: pages 212-225.

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