Several of Alfred Faraǧ’s plays rewrite preexistent texts. As each play presents distinctive features depending on the genre of its hypotext, rewriting is a variable strategy. A comparison between the literary genres, the plots, the characters, the style and the contents of the hypertexts and their hypotexts reveals that plays rewriting History focus on private aspects of the events and make the past reflects issues relevant in the present; the rewriting of the Qiṣṣat al-Zīr Sālim subverts its original values adapting them to the contemporary audience’s taste; and plays based on the Arabian Nights frame political issues in cheerful atmospheres.All the plays derived from the rewriting reinvest the Arab heritage and most of them are written in Classical Arabic, and so they contribute to foster the pan-arabist ideology. In the meantime, they contain political ideas which could be expressed because they were encoded through the rewriting. Alfred Faraǧ’s rewritings also reshape the socio-cultural Arab heritage providing History with new, positive interpretations of the events, substituting the values of the legend and erasing the effective power of magic and the comic based on racial or religious prejudices from the tales of the Nights. Similarly, characters taken from History or legend are reinterpreted and delivered to the audience as heroes. Besides being multifunctional, rewriting also produces a multilayered creation. Affected by a double reception (of the hypotext and of the hypertext in its whole), its perception complexly variates. Like a kaleidoscope, the rewriting resettles elements to compose ever-changing viewed patterns shaping the aesthetic of such works.

The kaleidoscope effect. Rewriting in Alfred Faraǧ’s plays as a multifunctional strategy for a multilayered creation.

Daniela Potenza
2018-01-01

Abstract

Several of Alfred Faraǧ’s plays rewrite preexistent texts. As each play presents distinctive features depending on the genre of its hypotext, rewriting is a variable strategy. A comparison between the literary genres, the plots, the characters, the style and the contents of the hypertexts and their hypotexts reveals that plays rewriting History focus on private aspects of the events and make the past reflects issues relevant in the present; the rewriting of the Qiṣṣat al-Zīr Sālim subverts its original values adapting them to the contemporary audience’s taste; and plays based on the Arabian Nights frame political issues in cheerful atmospheres.All the plays derived from the rewriting reinvest the Arab heritage and most of them are written in Classical Arabic, and so they contribute to foster the pan-arabist ideology. In the meantime, they contain political ideas which could be expressed because they were encoded through the rewriting. Alfred Faraǧ’s rewritings also reshape the socio-cultural Arab heritage providing History with new, positive interpretations of the events, substituting the values of the legend and erasing the effective power of magic and the comic based on racial or religious prejudices from the tales of the Nights. Similarly, characters taken from History or legend are reinterpreted and delivered to the audience as heroes. Besides being multifunctional, rewriting also produces a multilayered creation. Affected by a double reception (of the hypotext and of the hypertext in its whole), its perception complexly variates. Like a kaleidoscope, the rewriting resettles elements to compose ever-changing viewed patterns shaping the aesthetic of such works.
2018
Plusieurs pièces du dramaturge égyptien Alfred Faraǧ (1929-2005) réécrivent des textes préexistants. Se caractérisant de façon différente selon le genre textuel de son hypotexte, la réécriture se révèle une stratégie variable. Une comparaison entre les genres, les récits, les personnages, le style et les contenus des hypertextes et des hypotextes montre que les pièces réécrivant l’histoire se focalisent sur des aspects privés et font ainsi que le passé se mêle à des questions d’actualité ; la réécriture de la Qiṣṣat al-Zīr Sālim subvertit les valeurs de la légende en les adaptant aux goûts du public ; tandis que les pièces dérivées des Mille et une Nuits encadrent des questions politiques dans une ambiance ludique.Réinvestissant le patrimoine arabe, ces réécritures soutiennent le panarabisme. En même temps, elles encodent des critiques à l’encontre du régime de l’époque. De plus, la réécriture d’Alfred Faraǧ remodèle le patrimoine arabe : elle pourvoit l’histoire d’interprétations nouvelles et positives, adapte les valeurs de la légende et gomme le pouvoir effectif de la magie ainsi que le comique basé sur des préjudices religieux ou raciaux des contes des Nuits. Les personnages tirés de l’histoire et de la légende sont réinterprétés et livrés au public comme des héros. En plus d’être multifonctionnelle, la réécriture produit une création à plusieurs niveaux. Soumise à une double réception (celle de l’hypotexte seul et celle de l’hypertexte dans son ensemble), sa perception est complexement variable. Comme un kaléidoscope, la réécriture replace des éléments pour composer des dessins constamment variables au regard du spectateur qui forment l’esthétique de ces ouvrages.
File in questo prodotto:
File Dimensione Formato  
POTENZA_Daniela_va_vd.pdf

non disponibili

Licenza: PUBBLICO - Pubblico con Copyright
Dimensione 3.83 MB
Formato Adobe PDF
3.83 MB Adobe PDF   Visualizza/Apri   Richiedi una copia

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11574/193750
Citazioni
  • ???jsp.display-item.citation.pmc??? ND
social impact