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The present research explores the relationship between Occidentalism and theater in the Arabic world. It has presented the strategies with which the Arabic theater forms its employment of Arabic heritage to gain its identity. Arabic theater employed cultural heritage and its techniques; telling tales, narrator (Rawi), lyric, proverbs, puppetry, As-Samer folklore, festival, and other semi-dramatic forms. This is before the exposure to the Western theater (the other) which helped in reshaping the theatrical Arabic culture. Besides, Arabic theater has gained benefit from some theatrical techniques of the (other) in such a way to reproduce or read the Arabic theatrical texts in the experimental stage. This has deconstructed the theatrical cultural hegemony, hence removing the other’s culture from the center since theater is a means of awareness of self and other.
The present research has studied the aspects of Occidentalism in the Arabic dramatic text (Al-Farafir as a model). It is divided into four chapters. The first chapter (Theoretical Background) embodies the research problem which is centered on the question: What is Occidentalism and what are its aspects in the theatrical Arabic text? It also includes the research objective which seeks to manifest Occidentalism and its aspects in Al-Farafir play. The second chapter includes two parts. The first part is devoted to the concept, emergence and types of Occidentalism, while the second part is concerned with Occidentalism in the dramatic text and summarizing the main points of this chapter. The third chapter highlights the procedure of the research and the analysis of the study sample (Al-Farafir text). The research comes to its conclusion in chapter four which includes the results, findings and a list of bibliography.