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DC Field | Value | Language |
---|---|---|
dc.contributor.author | زهية عيوني | - |
dc.date.accessioned | 2014-12 | - |
dc.date.available | 2014-12 | - |
dc.date.issued | 2014-12 | - |
dc.identifier.issn | 2253-0029 | - |
dc.identifier.uri | http://dspace.univ-ouargla.dz/jspui/handle/123456789/8264 | - |
dc.description | Revue Makalid | en_US |
dc.description.abstract | The Algerian people , like the other Arab countries , have not used to know theatre except in the second half of the Eighteen century , through their direct contact with Europe . However, they practice a set of forms and popular modes that resemble the theatre and include some patrimonic techniques in its artistic structure. Similarly, many playwrights incorporate a folkloric or patrimonic techniques. Alloula is a prominent Algerian playwright who inspires such mode of patrimony in his plays , and he aims to create through these techniques a local and popular mode of expression. Thus, unlike other Aristolian Western forms Alloula promises to employ an effective popular mode of expression . | en_US |
dc.language.iso | other | en_US |
dc.relation.ispartofseries | numéro 07 2014; | - |
dc.subject | the patrimonic techniques | en_US |
dc.subject | theatre | en_US |
dc.subject | popular patrimony | en_US |
dc.subject | Alhalka | en_US |
dc.subject | Algawal | en_US |
dc.subject | Almadah | en_US |
dc.title | التقنيات التراثية في مسرح عبد القادر علولة | en_US |
dc.type | Article | en_US |
Appears in Collections: | numéro 07 2014 |
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