The effectiveness of Albinism in theatrical directorial language

Abstract

Mabinism is a new concept linked to the cultural diversity of different societies, and their different philosophical, literary and artistic productions. There is an intellectual dimension to Al-Mabinism, which is embodied in the expression of the phenomenon of cultural cross-fertilization resulting from the transformation of the world into a small village and the tendency towards abolishing borders and separations between contemporary societies. Inbetweenism, as an attraction resulting from the multiplicity of cultures, creates different spaces and new locations for the human self on the one hand, and leads to the overlapping of knowledge and artistic spaces on the other hand.
Intra-studies adopt the idea of one world and the merging of identities despite the different cultures, leading to the renewal of old methods with a new character that bears the characteristics of hybridization. The acculturation factor was an influential catalyst for the emergence of this concept in Arab culture, especially under the influence of colonialism and postcolonialism in terms of mixing, mixing and interaction. All cultures are in a state of mutual influence and continuous change, and it can be said that: every new form of culture is, in a way, a model of Albinism.
Intersectionality appears in theater by forming a middle ground between the local and the global, and between heritage and contemporary, helping to create a new theater that bears the influence of both aliens. Although this term has recently appeared in the world of literature and criticism, we can monitor many theatrical works in the Arab world that invested in the cross-pollination of cultures and felt the new images that were formed after this mixing and integration. Contemporary theatrical practice has invested this rich and renewed concept to the extent of its inspiration from other cultures, of difference, mixing, attraction, and originality, and has produced new regions with aesthetic images that add to the Arab theater another aesthetic dimension. Hence, the need for research appeared in dealing with the impact of Al-Mabinism in the Arab theater in the tagged title (Al-Mabinism and its manifestations in the contemporary directive language). The research problem was raised through the following questions:
1- Does Mabinism have a presence in the contemporary directive language in the Arab theater?
2- How was the Arab theater able to employ Mabinism in presenting directorial visions and a new identity for the theatrical show?