Theatrical Art in Classical European and Modern Arabic Literature:

S. Shamsuddin, Siti Sara Binti Hj. Ahmad
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Abstract

No doubt that Classical Arabic Literature was influenced by Greek Literature, as the modern Arabic literature was influenced by European Literature. The narrative poetry was designed for the emergence of theatrical poetry, a poetry modeled on the model of the story with its performance in the front of audience. This style was not known as Arabic poetry, but borrowed from the European literatures by the elite of poets who were influenced by European literatures looking forward to renew the Arabic poetry. It means that we use in this article the historical methodology based on the historical relation between European and Arabic literature in the ancient and modern age. The first who introduced the theatrical art in Arab countries was Mārūn al-Niqqāsh, who was of a Lebanese origin. He traveled to Italy in 1846 and quoted it from there. The first play he presented to the Arab audience in Lebanon was (Miser) composed by the French writer Molière, in late 1847. It is true that the art of play in Arabic literature at first was influenced by European literatures, but soon after reached the stage of rooting, then the artistic creativity began to emerge, which was far away from the simulation and tradition. It is true also that European musical theatres had been influenced later by Arabic literature and oriental literatures. European musical theatres (ʿAlāʾ al-Dīn and the magical lamp), the play (Māʿrūf Iska in Cairo) and the musical plays of (Shahrzād) are derived from (One thousand and one Nights). This study aims to discover the originality of theatrical art in modern Arabic literature. Therefore it is focused on its both side: Its European originality and its journey to Arab World, hence its artistic characteristics in modern Arabic literature. We also highlight its journey from the poetic language to the prose.
古典欧洲与现代阿拉伯文学中的戏剧艺术
毫无疑问,古典阿拉伯文学受到希腊文学的影响,正如现代阿拉伯文学受到欧洲文学的影响一样。叙事诗是为戏剧诗的出现而设计的,这是一种以故事为模式,在观众面前表演的诗歌。这种风格并不被称为阿拉伯诗歌,而是受欧洲文学影响的诗人精英们希望复兴阿拉伯诗歌而从欧洲文学中借用的。这意味着我们在本文中使用了基于古代和现代欧洲文学与阿拉伯文学之间历史关系的历史方法论。最早将戏剧艺术引入阿拉伯国家的是黎巴嫩人Mārūn al-Niqqāsh。1846年,他去意大利旅行,并在那里引用了这句话。1847年末,他在黎巴嫩向阿拉伯观众展示的第一部戏剧是法国作家莫里奥丽特创作的《吝啬鬼》。诚然,阿拉伯文学中的游戏艺术最初是受到欧洲文学的影响,但不久就达到生根阶段,然后开始出现远离模拟和传统的艺术创造力。欧洲音乐剧后来也确实受到了阿拉伯文学和东方文学的影响。欧洲的音乐剧(al- al- al- d n和神奇的灯)、戏剧(al- al- rūf开罗的伊斯卡)和音乐剧(Shahrzād)都来源于《一千零一夜》。本研究旨在发现现代阿拉伯文学中戏剧艺术的原创性。因此,它的重点是它的两个方面:它的欧洲原创性和它的阿拉伯世界之旅,因此它在现代阿拉伯文学中的艺术特征。我们还强调了它从诗歌语言到散文的历程。
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