النقد المسرحي في الجزائر

Abstract

"We worked on this thesis project theater critic in Algeria, we took into account the most important issues that characterize the phases of its realization, and its forms in order to define the characteristics of project realization remains in court seeking ways of its fulfillment. Therefore, the thesis is based on a crucial issue pivoting around questions about the compatibility the speech of the theater criticism and the speech of theatrical creativity and its contribution to mobility, such that the first speech has undergone several issues impeding completion of its particular characteristics, the foreground it there's the problem of method resulting from the specificity of theater as a creative discourse in its different technical system from the literature is that a part of that system. Is critical that the Algerian theater can properly deal with the Algerian theatrical creativity in regard to limited academic literature, according to this vision, which aims to highlight its particularity and singularity, knowing that creativity has seen several specific jumps through experimentation? In order to respond to this matter, this thesis consists of seven chapters divided into two sections. The first theme is divided into four chapters; we discussed the problems of Algerian theater criticism, which are the issue of language, the issue of the citation, the problem of sequence and the issue of experimentation. In the second theme, we explored the forms that were used to reach the receiver who needs to know the fourth art whether it is a a simple receiver or elitist, these forms are the journalistic theater criticism, theatrical criticism being close to academic specialty, the specialized academic theatrical criticism. Through this explanation, we can now answer the most important questions that have been caused by issues on which our thesis is based synthesizing them in the following points: 1 - Questions theatrical criticism Algerian those of Arab theatrical criticism, it is impossible to exclude them from this criticism. Even if there are differences between subjects in theatrical criticism and Algerian Arabic, they did not arrive at the point to give an opinion on its Absolute feature that makes the first speech (Algeria) a speech independent and different from the second (Arab ). 2 - The lack of a specialist critic is one of the most important issues that hinder critical theatrical Algerian speech which impede the constitution of its specific characteristics on which it rely to highlight its distinction and difference in the speech of the Arab criticism this is what makes us believe that this issue of speech does not consist in the absence of the method from the specificity of theatrical speech as it is in the absence of specialized critic able to fulfill this mission. Several ~ 369 ~ negative points were to be implied that this most important relationship of this criticism with the university, it means two things: first criticism is a seasonal activity related to theses and Magister, festivals and theater days, the seminars and forums, followed by the absence of control and the consecration to theatrical criticism. Second: its relationship with the departments due to the rarity of the departments of theater and criticism in our Algerian universities. This is why most theater critics are teachers of literature and its criticism of the text which represent one part of their interests not the development. If they read, the development, their readings are only to provide a summary of the contents. It is not strange that they have not a theatrical culture that can help them to understand their terms of development. Despite the tendency of some to read the development in the last minute, however this exception has not been a phenomenon or a problem or a critical approach in the proper sense of the word. 3 - The specialized critic journalism has played a principal role in the general documentation process of the theater movement in Algeria despite the negative points has made, regarding to the scarcity of newspapers which specialize one of their pages or columns to the theater and its criticism, this kind of criticism was as a solid foundation on which most academic theater studies are based."