Research Problem

In the face of the human reaction towards many political and economic variables, this was necessary to be lost and useless in several ways and forms in order to reveal the essence of the relationship between sensual and intangible assets, the weakness of this relationship, and that was by denying its rationale on the one hand, which indicates a strong shock and irony It is laughable at the same time, and on the other hand, through the refusal of exigencies to accept life as it is, i.e. by rebelling against those postulates that were agreed upon without discussion.

If we look closely at contemporary life, its inventions, discoveries, and all its achievements, we will find that it is the product of a series of rebellions, overflowing with rebels. Rejection appeared in human rebellion since the beginning of creation and the dawn of life recorded by popular myths and mythology and confirmed by studies and excavations interested in ancient history. Justice in the mortal and immortality in the rest) The Greek civilization of Prometheus recorded his rebellion against God and Sisyphus his rebellion against the absurdity of life, and for the Roman civilization it is the civilization that was characterized by intellectual philosophical rebellion, and the Pharaonic civilization was characterized by social, intellectual, philosophical and architectural rebellion.

The researcher here would like to make it clear that he does not use the word rebellion in its derogatory sense, as he deals with rebellion as a dialectical case, as well as with traditions, which he considers an indispensable basis for launching to the heights of progress and development and thus refraining from dealing with it as a sacred heritage whose constants may not be compromised from one side or the other. Indifference to them and ignoring them with unjustified arrogance.

Hence, it becomes clear to us that rebellion in the theater is a state of self-creation, which tends to search, investigate, and not yield to the familiar, the ready, and the consumer.

Rebellion is what we call (experimentation) a rebellion against what is old, and not the opposite, which leads to revolution against oneself and reality, although it is an individual case, but it is linked to the conditions of work and the cultural environment of the era.    

The rebellion against theatrical traditions was and still is the den of many creators and avant-gardein the theater who turned towards growth and development and human paper with the tools of change by keeping pace with news and diligent research to realize the nature of phenomena and their contradictory nature and thus answering the questions an challenges of nature and reality through the continuous quest to build a more just and humane society.

Also, rebellion in the theater means a challenge to certain fixed trends that, with the passage of time, become an avant-garde movement that takes upon itself the deepening of innovative or avant-garde positions. These terms are associated with names or time periods. These movements often produce complex artistic movements that we call many characteristics and labels (the avant-garde and avant-garde, modernity). and modernists, renewal and renovators, dadaism, surrealism or expressionism).

This is related to the time and place and what traditions are being rebelled against, which is a result of what the nature of society, culture and the history of theater in this or that country has brought.

Man's sense of that absurdity and illogicality in life led him to rebel against everything related to that, and that was on the level of form and content.

(And since theater is not only a linguistic experience, but a comprehensive human and cognitive experience that works to evoke the stock and deposited in the depths of the self at a time when man was certain in light of these variables of the inability to communicate between man and the other and lost confidence in language as a means of communication, he worked To rebel against the language and its rules to communicate a new form by abandoning the actual methods and dialectical or logical criticism, so he abandoned all these methods in theatrical composition because, as we know, it aims to express the inconsistency present in life, so all its means must work from In order to achieve this end, language and non-language synergize in achieving this goal) [1], so the researcher sought to study the concept of rebellion in the theater of anger and protest by answering the following question, which is how did the theater of anger and protest understand the concept of rebellion and how did it deal with it?

The Importance of Research and the Need for It

The importance of research is reflected in:

Shedding light on the concept of rebellion and its activities in the scene of anger and protest.

The need for it is:

• Helping researchers and scholars to learn more about the concept of rebellion in the theater

• Contribute to providing applied criticism in the field of criticism and theatrical literature

Research Objective

The main objective of the research is to reveal the positions and artistic elements that were mentioned in Harold Pinter's theater that constitute the concept of rebellion in the theater of anger and protest.

Search Limits

• The Limits of the Topic: Harold Pinter's concept of rebellion in the theater of anger and protest

• Temporal Limits: or his appearance was in the play (The Room) in 1957 presented at the University of Bristol to the last play presented to him in 1988, the play (The Language of the Mountain) in Turkey

• Spatial Boundaries: London/England

Define Terms

The Meaning of the Concept [2]: (English Concept) is a general mental perception abstract about the things of reality.

Some philosophers consider the concept in its basic relationship to existence or beings, whether they are perceptions in the mind or objects in the external reality, which makes it related to the problems of meaning, significance and reference.

Meaning of Rebellion (Idiom) [3]

Rebellion means continuous negative disobedience and rejection, and it may reach the point of disobeying authority, values, laws, beliefs, and sound customs.

As for the Meaning of Rebellion (language) [4]

• The Boy’s Rebellion: the meaning of (murd), which means that his mustache came out and his beard did not grow for a period of time

• Rebellion against something: Meaning (flexible and accustomed to it)

• Rebellion Against the People: The meaning of (obstinately and persistently disobeyed), i.e., disobeyed

• Rebellion Against Eevil: The meaning of (overwhelmed), i.e. arrogance and transgression of the limit

Procedural Definition

It is a rebellion or a coup against reality and its values, or a departure from the authority, its customs and its man-made laws.

The Philosophical Concept of Rebellion

The meaning of rebellion from the linguistic point of view resonates between the meanings of turnout, disobedience and exit, while the meaning from the artistic side is resonating in the writings of contemporary thinkers between rejection, restlessness, anger and seeing things from the angle of defiance and opposition to its laws.

This means that the concept of rebellion from the linguistic point of view and the artistic point of view includes the meanings of anger and protest. There is no separation between the meaning of rebellion in its linguistic situation and its meaning in depositing the creators.

The rebellion does not reject the whole past, because it focuses its rejection on the aspects of inertia and following in this past, because the rejection of the entire past is not within the capacity of the rebellious creator.

Because the rebellion (formed a continuous confrontation with all aspects of stagnation, oppression and decadence in literature, politics and society, targeting the anger of the ruler and the masses, but the elements of originality inherent in his revolutionary anger inflame the values ​​of confrontation and continuity) [5].

In the legend of Sisyphus by Albert Camus, this French writer and novelist was able to “record the main features of his rebellion, that it is a brave rebellion, a conscious, clairvoyant rebellion that clearly sees that the world is incomprehensible [6]

Thus, Camus made sure that the conflict emanating from the collision of human consciousness with the walls of the dense world would remain so that the rebellion would not lose its voice and its scope. Which we must confuse with abandonment and conscious dissatisfaction, which should not be compared to the discomfort that comes from immaturity) [7].

The origin is by saying that rebellion through art paves the way for revolution in all aspects of the living reality, and in itself it does not put alternatives to this reality that is being protested against, but it paves the way for the revolution that works to change and find the desired alternative, as the researcher believes.

The rebellious person is the person who says (no) and despite this (no) which is his opposition to the system in certain matters, he at the same time recognizes the existence of lines and limits, which allowed negative circumstances to interfere in his life.

Rebellion undoubtedly includes a certain value. The rebellious person opposes everything that is useless and harmful to him, but the development of rebellion leads to him a collective special, for (Camo) reached a conclusion when he gave an example that the slave who rebelled against his master, the slave is based on the system does not recognize society Of the people, the rights of the oppressed, and here the rebel against the position they defend loses, and the values ​​here flow into the content of a group of people) [8]

Kao distinguished several categories, including rebellion, placing each of them with certain characteristics and characteristics (The metaphysical rebellion is the rebellion of the entire universe. The historical rebellion, which aims mainly at freedom and justice, is trying to give man the status of the ruler of time and history.The third and final category is the category of rebellion in art, because art is creativity that involves rebellion that shows denial and affirmation that it is one. Rebellion with art, according to Camus, is The creative Creator of the universe considers the world imperfect and tries to reformulate it and give it the form that it lacks) [9]

We can distance the concept of hatred from rebellion, because hatred comes from envy and is always directed against the subject that constitutes that envy. As for rebellion, it takes the position of defending convictions, i.e. the rebel defends himself and the limits of his personality, demanding their respect. It has a negative beginning, while rebellion involves the positive, and with this idea (Camo) enters into a controversy with some philosophers who equated it between the spirit of rebellion and hatred) [10]

(When the owners of the concept of rebellion saw from a social perspective, they noticed that it was not possible for it to appear in societies dominated by equality in reality and behind equality in theory) [11] other than that, rebellion belongs to a person who is knowledgeable and informed and not ignorant, and therefore the rebellious person cannot appear In primitive societies where superstitions and traditions prevail and life phenomena are explained on the basis of sacredness and taboo.

Accordingly, “Art leads the creator to the source of rebellion at a time when it shaped the invisible values ​​that he feels as a creator. Indeed, the Western human being has begun to live within societies in which the rope has been mixed with everything, and all values ​​and ideals are lost in the spirals of scientific and technological progress, and there is no longer any kind of The harmony between the desire of the praying heart for peace and tranquility, and the will of the mind that pushes towards modernizing the lifestyle, even at the expense of the great principles and humanity of man. All his returns in life are in vain and cacophony)[12]

Western modernity has extracted the existential elements of the individual, whether it is related to his intellect, freedom or inclinations, and has made him detach himself and completely subjugate himself in its economic system and involuntarily identify with a new tendency based on pure material production and a distance from spirituality and metaphysical forms of thought.

In this regard, UNESCO expresses the absurdity of reality and the loss of man in it (The world sometimes seems to me devoid of meaning and reality is unreal. In dissonance, who have nothing of their own outside their anxieties, regrets, failures, and abandonment of their world are beings mired in the absence of meaning that can only be tragic irony [13].

It is an honest rhetorical picture that clearly expresses the loss of reality, and the confusion and confusion that has become shrouded in it. (Treating the problems of tragedy, its conflicts and themes such as the human destiny, the meaning of existence, freedom and inevitability, absolute inequality and the fragile human system) [14]

It should be noted that the concept of rebellion was not only crystallized by the narrators of this revolutionary theatrical orientation, but also found in the leaders of existentialism such as Giroudeau, Sartre, and Inoue, but the difference between these and the writers of the theater of the absurd is mainly in expressing their feelings about the absurdity of life in a logical and rational way , while the friends of UNESCO express absurdly their view of the absurdity of life.

It is recognized that the rebellion is the result of the interaction of a set of subjective and objective conditions that complemented each other to give this type of rebellious and rejectionist theater, this avant-garde theater that rode the wave of experimentation to present us with a theatrical pattern that deeply reflects the reality of the Western man, who has become internally living a tragic reality despite the material appearances Luxurious furnishing the medium in which it grew.

Undoubtedly, expressing a sense of the absurdity of life and its emptiness is not a new conquest achieved by the pioneers of the rebellion scene, but rather an ancient concept. From this point of view, Hanna Abboud says, inferring from that (The sense of absurdity, the darkening of fate and the insignificance of life. There is no message for man and no goal that seeks order and chaos is the same. All of these matters are as old as man, as it came in the book of Ecclesiastes, and the same thing in all the legends and ancient religious books, Vanity of vanities, all is vanity, what is the benefit of man from all his toil that toils under the sun, all the rivers flow into the sea, and the sea is not full [15].

The concept of rebellion, then, is not a new heresy. Rather, this color of human action and within the framework of the dialectic of demolition and construction benefited from a number of philosophies on whose ruins the foundations of his philosophy in life and his view of the universe and man.

Over the long centuries, many scholars have discussed important issues and various topics, including the human being, his value, his role in the world and society, his ideas, his search for truth, his clinging to hope, the search for freedom and acceptance of reality and then rebellion against it. Watching that every human being is rebellious against society or against reality and even against himself, so you see him sometimes fluctuate between his satanic psyche or his angelic part. The state of disorganization or tampering, so rebellion is a face or a way to get rid of or coexist with this life.

According to the majority, rebellion is a source of danger because of the impact of this word on people in society and based on the fact that (rebellion is a rebellion against reality or it is a negative trend or it is a departure from authority or the values ​​and norms that exist in society, unlike the understanding of the rebellious person for rebellion, as he imagines That rebellion is obtaining independence or proving ability and access to power to protect oneself or get rid of burdens and the reality surrounding it) [16]

Fears of rebellion increase due to the association of this word or its synonymous with the unknown, which raises fear and terror in human souls that are accustomed to the familiar and do not like change. By experiment, he is well aware that experimentation is a means and not an end [17] and that all new and strange ideas also have the basis of an internal rebellion of man against his situation and the situation surrounding him on the grounds that this idea or ideas is one of the most important necessities and the basis for its continuation and the transfer of experiences from one generation To a generation, given that a person depends on the ideas and experiences of the past, and because of his confinement in them, the idea of ​​rebelling against them is born, in order to be a step in the production of new ideas, trying to benefit from the best of them without falling into the mistakes of the past, and this does not mean giving up or skipping For all the inherited and the old or replacing it with the new, because the old and the inherited are always the basis for everything that is new so that it remains a continuous and unbroken development or without roots while preserving the old concepts and values ​​adjacent to each new starting point and concept. And the civilization in this world that “transforms the world of data into a system, even if it is not the main or the only reason [18] and without any doubt, a wide range of reasons for the production of culture are linked and intertwined, and through man and his dependence on his mental and intellectual abilities, he can arrange In order to live in balance, he must combine reason, madness, chaos, and order with rebellion, where (the concept of rebellion involves the meaning of challenging and rejecting the prevailing conditions, and it often contains a human moral meaning that seeks to achieve justice and equality, the impact of the spread of corruption, injustice and oppression as a response to the economic and social reality and the political [19] since rebellion is what we aspire to raise in man to levels beyond the horizons of submission and tradition that belong to the past, meaning that through rebellion a person can rise and transcend all conventions The hand, the laws, and the customs, because rebellion is an attempt to impose a new reality in various ways and means to build a new future, because (rebellion achieves its value and greatness for life because it stimulates thinking and human pride in many things for a reality that transcends himself [20] , and through this can be considered rebellion It is the synonym or alternative to the word experimentation or tampering, especially in the field of literature and theater, because experimentation and tampering is a case of creating a new and different form or forms of theatrical forms that may not belong to the familiar that we know or what was presented on the stage that we can see.

Experimentation represents the moment in which the artist transcends the world, subject to various natural and man-made laws, in an attempt to show new knowledge and visions, and all that is in his consciousness and memory in a different way, as he is “the result of what instinct and mind provide and expressive forces represented in the forms that are present in his mind that expand and analyze what Behind every law) [21], as these forces combine and interact with all the data and assets of the external world to produce the new through the artist’s possibility and sense based on his imagination and imagination (and the reality is that for there to be art, the relationship between the subjects must be The pictured man is a relationship of a nature completely different from what the world imposes on us) [22] and these are not the limits of art or creativity, because the creative or inventive person is the one who can reformulate the experience or experiences he lived to produce another reality rebelling against his world and liberated from it The struggle that the artist lives in between himself and his reality, so that (the awareness of the creative artist.

An emotional awareness that is opened by imagination or intuition to receive ideas and trends) [23] and therefore the artist must deal and mix between life and imagination to provide us with everything that is outside the scope of our thoughts or imagination. To be aware of the judgment of others in his product, and their reaction to it, a condition of judging him with ugliness or beauty in accordance with logical and volitional aspects, because the basics of creative processes are contained within the two components of the artist and his product on the one hand, and the recipient who gets excited and influenced by him or plays him on the other hand.

The product does not reach the level of innovation unless its features become clear after experiencing interactions and developments in which its elements are integrated in form and content, revealing the world from a new angle with technical relations that sense the emotion of the recipient for what they require of thinking and application, so that each recipient from some angle becomes a participant and part of the innovation process. The steps of experimentation or tampering became clear through its presentations, means and ideas that it brought and that nourished and developed the theater in a different form and form based on everything that is strange and unfamiliar in terms of text and presentation, and the ideas that grow within this text parallel to what is inside the forgetfulness of the rebel or the artist because of his love And his insistence on change and aspiration against all that exists, transcending the scope of time, space and mentality ((Art is nothing but harnessing the forces of nature for a purpose.

The phenomena produced by the human factor, like those that we consider spontaneous from our point of view, depend on the properties of the primary forces, or on the properties of the primary elements and they are composed of them) [24] in other words, that every product and every new is related to what is around us of the nature Society and assets, which are the basis of production for this new product or art. They are made with a new mold according to the artist’s vision and understanding of them, conscious, rational or irrational, as (Artistic production is the outcome of a conscious process based on a relationship between two images, one of which is derived from the external world that captures the entirety of its various social activities. In which the artist seeks to transcend it to compose a new form of combined visual images and relational systems) [25] to keep everything that is produced within a scientific and cognitive domain away from the emergency and approaching the aesthetic limits in which a large group of elements that drive them may overlap on the The level of text, shape, and final image of this achievement or product.

So experimentation is a form of rebellion, especially among theater critics, writers and directors, and experimentation here is at various levels. Through rebellion against all the ancient theatrical heritage, and this perception is another understanding of the text, a different reading of it, and the second level is the form and image of the show, which can carry The second image is from the experiment, or at least the actual output of the first process in the text (sometimes we had a relationship with a text [26] as he says (a book) written, and sometimes there was no text at all based on the personal creativity of the actor and his improvisation skills Which is one of the most important rules and foundations of experimentation) [27] and it does not mean the process of destroying the inherited text or transgressing it, as Brecht says, who does not disagree with Meyerhold in this matter that (Theatrical writers write in general according to the dramatic methods and techniques that were prevalent in their time, and that is why they write their theatrical texts by declaring a challenge to the directors who come after them, and this different reading, which is different from one generation to another, according to the data of the stage in which this reading lives) [28] as each stage has its own specificity in the type of new culture It is a product of different culture, different customs and traditions, or a difference in some society to which the author may belong, or even as a result of the wars that countries are exposed to. One of the most important schools or trends that have emerged from wars and calamities in the countries of the world, especially those that have been exposed to wars, is the theater of absurdity, the theater of cruelty, and the theater of protest to teach The start of a new stage of theatrical trends at various levels, starting with the text, directing, acting, view and other elements of theatrical performance, where the challenge began through the Westernization of classical plays, well-written, to produce a new language in line with the spirit of the age. From the knowledge of science, because it does not cancel out scientific knowledge, but rather it can absorb it, then it adds to it what it excluded)[29] and there is also no doubt that any formal organization cannot be achieved without a specific concept and vision, so the concept of this organization The formal and that is related to the nature of thought, and then the nature of the fragmented idea of ​​that thought, as well as the nature of the general vision of the subject and the nature of the fragmented vision of the artist (creative) in this or that work, meaning that the basis of experimentation or that the beginning of experimentation is the theatrical text and the process of rebellion against it or reformulating its writing According to a new vision bearing the spirit of challenge and rebellion, many writers have dealt with the idea of ​​tampering or feeling it with a difference in the method of treatment or treatment of feeling it, but they may agree with their pessimistic view of the human conflict with himself or the forces surrounding him, as “all images are not Man’s alienation from himself, deepened by his relations with others, which he finds himself forced to as an attempt to feel a sense of belonging that can achieve a kind of self-satisfaction or confidence) [30] and from here begins man’s feeling of alienation and this is what can be observed in the various theatrical works that It was written in the absurd manner when Beckett, Albert Camus and others correspond.

This thought is another thought that contradicts it as another form of absurdity, which is facing defeat due to man’s acquaintance with technology and entering its era. The causes of death may also see them as reasons for life, and this issue may produce a new type of experimentation with its own rules and system that may differ in its form or even content and language on the Considering that man is fond of reduction or abbreviation because of this new revolution, as (each art has its elements that if he abandons them, this art loses its identity and identification, the transformers of breaking traditions stop at the necessary element) [31]

The Philosophy of Rebellion in the World Stage

The French philosopher and novelist Albert Camus was born in 1913 in Mondovi, Algeria, to a French father and a Spanish mother, and raised in schools and the University of Algiers. The great philosophers of the twentieth century and one of the most important philosophers of his time because his philosophy coexisted and kept pace with his time, which is based on two ideas: absurdity and rebellion. From this, Camus (sees in him the man who was destined for misery in vain, and life was decreed for him in vain, so he resorts to escape and this is philosophical suicide It means the movement by which thought denies itself and tries to transcend itself within the scope of what leads to its negation, or to a position of rebellion against the absurd in life while we remain in it, diving into the depths and embracing nothingness. Camus considers that this rebellion is what gives life its value through the preservation of human dignity and freedom [32].

Camus presented all his ideas in the form of dualities: happiness corresponding to sadness and light and reflected by darkness, life and death. The end is meaningless, and while we can live with duality) [33] Albert Camus relied on the ideas of contemporary philosophical schools when he formed his own view on the concepts of absurdity and rebellion and emphasized that the essence of life is the most important questions that philosophy examines and that different levels and eras and trying to study the most important reasons that can force a person to commit suicide to reach the concept of absurd feeling through the contradictions he lives and represented by the struggle of man and all the forces surrounding him, as Al-Kamo confirms in his writings, “rebellion and tampering can sneak in the moments of emptiness that he feels.” A person returns to his mind and his protection because of all the factors that surround him due to the cessation of consciousness in these moments, and a person’s feeling of alienation can bring the same results that cause. The moments of emptiness that can be distinguished through the inhumanity of man himself, which he hides and shows his true face, that is, it is the disparity or collision between the rationality of the world and irrationality that can generate absurdity or rebellion [34] and here appeared Camus’s opposition to some philosophical schools that call for That the existences of the world are all rational and that all things can be explained and understood through the mind, and Camus says that absurdity exists as a result of mixing and intermarriage between man and this world and from this intermarriage Camus created his tripartite union represented by absurdity and human consciousness and the world combined cannot separate and in the absence of any element From these elements this union vanishes and is lost, and from this trilogy or through the philosophy of absurdity in the theater, we can imagine or imagine a different, absurd science that does not bear the burden of life except in its first beginning since the beginnings of its inception. A great degree of maturity through the dramatic metaphors presented by writers and authors that enriched the theatrical heritage and opened new horizons for all authors and directors, and this metaphor had the greatest share in affecting the Scenes with a sudden shock of awareness to see reality from another angle, or to break the perception and bring a new perception that the recipient may not expect despite the difference in his awareness, and the absurd people are the most affected by wars, especially the first world, and everything that resulted from it and controlled their psyches, which led to the lack of trust between them and others. Which made them live in individual isolation.

Camus developed the philosophy of absurdity and rebellion, especially during the period in which he lived with communism and Marxism, because “absurdity is the product of political conditions. That the world has no meaning and does not know cohesion, emphasizing and illustrating these ideas) [35] in his book The Myth of Sisyphus and his work in uselessness and without end, or that it is a picture of the real world in all honesty, leading after what he lived through to the question is that humanity should produce or no? Camus's philosophy of the absurd responds to the claim of Marxism that none of our efforts can resolve the tragedy of death and give meaning to the world [36].

And when we reach the meaning of the absurdity of death, we will find that despite the annihilation that death achieves and despite it, it is the only and sure truth for man in this vast universe. He is persistent and unrelenting with death or the unknown, and just because these things become reality for a person, they are sufficient doors to make him live in a state of despair and loss, and the uselessness of anything he does because he is fully aware that his end will come to an end Death is confident of this end, but his defiance of death and the despair that may afflict him, as Camus says in the myth of Sisyphus (It is the thing that man has in facing him and facing the absurdity of life represented by others. There are multiple forms of man’s inability to believe that with all his torments, the greatness of his pain and the hopes of his deeds, his destiny will be annihilation, and then the most important of these images were procreation and escape from the self by illusion in the forms of love, friendship, the idea of ​​divine justice and the idea of ​​immortality) [37] but everything that exceeds that Images that call for despair and suicide is the feeling of man that he is the link and communication between all the world's assets and that he is the first responsible for building this life and this is the supreme value that calls man to continue in this life.

The human consciousness according to Camus has degrees, the highest of which is represented by tampering and rebellion based on the fact that tampering and suicide cannot meet or synchronize with one individual, and man must gradually rise until he revolts and does not live with duality in order to feel the taste of life through this internal conflict between the human conditions that exist. And it imposed on him, his awareness and his mind, taking advantage of all the moments in his life, as “the realization of the absurd requires replacing the (quantity) of the experience of existence with (the two types), and in other words, not to live better, but to live more moments [38]. Enjoying this rebellion and the absurdity that color these moments for him, provided that through tampering, all actions and dealings are equalized to a high degree through the calm and tranquility that the rebel possesses, accepting and satisfied with any expected or unexpected result, as the conscious person who possesses awareness and awareness will be all his actions and dealings in his favor because (Awareness and lack of hope are two things that Camus describes the absurd person: he does not know the feeling of sadness resulting from an action or something that has not been achieved) [39] the issue of creativity and its analysis in Camus differs based on what the creator possesses of specifications in Camus, as That creative m His point of view is the person who supports and rejects at the same time, and these are my two goals of the absurd creator, because (the creative work (a painting, a piece of music or a novel) gives less than it was supposed to give at the beginning) [40]and here it appears The different view of Camus on art and the artist, despite the objection of many philosophers to art, but he considers it a necessity and an important need for man, by saying: (Art expresses a basic metaphysical need, which is the need for unity, and since man does not find in his real world such unity. which he needs, he finds himself compelled to create another world to establish as an alternative to this world) [41] and from here we can realize the reason for our admiration In paintings, films, theatrical works or music, because art possesses a miraculous power that can extract admiration from us most of the time, considering that it possesses an intellectual and aesthetic message. And creative with coordinated and reasonable images, as art, as Camus says, “does not deviate from being a form of human rebellion, as it means that the artist rejects the world, even if this rejection is outside the circle of history and therefore it is a pure and pure image of human rebellion.” [42], according to his philosophy that our world is irrational and therefore it cannot be known or discovered through the mind so that ideas remain the effective forces that move man and his mind for rebellion and absurdity. Socially, absurdity needs a large human base free of backwardness and needs peoples who know what What do you want, what you need, and how to decide in a society far from inequality. Camus has created three divisions of rebellion, according to the categories:

• The category that can rebel against its fate and even against the universe, which is known as metaphysical rebellion. That he was deceived and wronged by the Creator himself) [43] and this does not mean rebellion against the Creator, according to Camus philosophy

• The second category and this rebellion can be called the historical rebellion, which aims at freedom and justice, because (the revolution sprouts from an idea, while rebellion is a movement that starts from a subjective experience and reaches the idea) [44]

• The third category that can represent rebellion is the category of rebellion in art, given that art is a creative achievement based on the reformulation of the world, which in the eyes of the rebellious artist is not integrated (art argues reality, but does not avoid it, just as art leads the creator to the source of the rebellion in the same proportion in which he gives form to the invisible values, but they are visible to him and he feels them as a creator) [45]

As for rebellion and tampering in the theater, it came as a rebellion against the traditional and classical schools to which the rules of drama established by Aristotle apply and which are governed by the elements of time, place and event. The dark comedy, the comedy of danger, and the theater of non-connection, as it came as an extension of various literary movements that appeared for short periods in the beginning of the twentieth century.

Plays The knot or the event, they did not make a presence for it in their plays. The theater of the absurd has a clear plot, and if (I want this theater to be something, it must leave the circle of nothingness and move towards more clear artistic, political, literary, social and religious topics, but the important thing here is that if what changed The theater of the absurd has its orientations, form and content, it will end as an idea, content and significance) [46] as for the dialogue, it is often truncated and incomplete and its end is open or interrogative and the characters cannot connect two words at the end of the play that summarizes the whole idea of ​​the play from discontent and boredom and the number of characters Few two or three characters inside a confined place and select a room or hall or even a tree trunk and so on and little variety and transition between one scene and another scene and this quantitative accumulation of reasons gives meanings and Sacrifice of fear, lack of reassurance, and constant anxiety, and this is what makes these elements the major cause of misleading the idea of ​​whether this is reality or this is an illusion.

The theater of the absurd is very important to Europeans because it reflects their painful social reality, and one of the most important problems it presents is the dilemma of individuality. This calls for the characters in the play to distrust each other or lose them, as it shows beyond any doubt the absence of actual solutions to many problems, and the inability to face the reality in addition to the amount of continuous confusion, high and continuous anxiety and renewed fear of what the unknown represents the future and how it will be.

There are many examples of the theater of the absurd, for example, the plays of Harold Pinter, whose events take place in a dark and cold room, and those who live in it feel nothing but instability, lack of comfort, anxiety and fear from all the surroundings that are in it and that surround it as well. External always staring, plays that cried and waiting, and the circular plot in which the issues of waiting revolve. As for women in the theater of the absurd, it is few or even almost non-existent, and the priority is given to men, and the greatest luck is for them as well. Women are more depressed than men because they suffer from social oppression, and they reproduced the production of short plays. Or one-act plays or that have few and limited characters.

In addition, they returned with the one-act play and the limited number of characters.

What is the Result of the Theoretical Framework?

• The rebellion is a confrontation with all aspects of stagnation, oppression and decadence, whether in the movement of society or the movement of creativity

• Rebellion is of two types, one is positive and the other is negative. The positive is a prelude to the revolution that seeks radical change. As for the negative, it is considered a retreat into the self that works to destroy and isolate it

• The rebellion is a kind of human action that stems from the dialectic of demolition and construction, taking advantage of the contradictions of various philosophies to base its own philosophy on it

• The concept of rebellion includes the meanings of defiance and rejection, and sometimes contains human and moral meanings aimed at achieving justice and equality

• Some philosophers consider that rebellion represents human elevation and transgression of all prevailing traditions, laws and customs

Albert Camus distinguishes three types of rebellion:

• Man's rebellion against his destiny and against the entire universe

• A historical rebellion aimed at seeking freedom and justice

• An artistic rebellion appears in artistic creativity, when the artist sees that the world is incomplete, and that he must reformulate it

• The rebellion in art comes from the interaction of several objective circumstances surrounding art, and several subjective circumstances related to the artist, and the art he creates

• Rebellion in the field of literature and theater is synonymous or alternative to experimentation and absurdity, because it threatens the creation of new and different theatrical forms that do not belong to what is prevalent

• The rebellion in artistic creativity is an attempt to transcend the scope of time, place and the prevailing actuality

• The theaters of absurdity, force and protest are theaters that make rebellion a main focus for it at various levels, starting with the text and ending with the show

• The (Westernization) advocated by (Brecht) is a form of rebellion against all the traditional concepts that preceded it

• Rebellion, according to Camus, is a humiliation that gives life its value, and it is what makes a person preserve his dignity and freedom

Procedures

The plays of rebellion and absurdity were able to create a new generation of actors and audience because of their effectiveness and rapid and high ability to influence their audience.

Man lives, the crises he goes through, and the strange world in which he is aimless. Among these plays are Howard Pinter, born in 1930 in London, and among his most important plays are The Room 1957, The Christmas Party 1957, The Dumb Servant 1957, The Variety, A Night Out 1959, The Dwarf 1960, Named 1968, Old Times 1970, New World Order 1991, Moonlight 1993, Celebration 1999, Remembrance Days Bye 2000, and other plays.

Dumb Server

The play consists of one act written by Pinter in 1957. Its events are confined to one of the old buildings inside the basement of this building between two characters who are hired killers (Ben and plaster) waiting for their victim. The first thing that can be noticed in this text is the confined space inside this old room with lighting the few that contribute to the creation of terror and anxiety, and this characteristic, that is, the limited space and the possibility of not moving in other places, is one of the most important characteristics of the theater of absurdity and the position of waiting in which the events of this play revolve.We feel anxious about the movement of the characters by pointing out the pistols at every moment of feeling danger or investigating and moving towards the source of danger and movement. It is also possible to notice and realize the dialogues that they are truncated or interrogative incomprehensible through placing the orders that the two characters have to kill these victims, in which the signs abound:

 Jis: Want to ask you about something?

 Ben: What were you doing there?

 Jis: it was just -

 Ben: And tea?

 Jis: I'll make it

 Ben: Then go and get him back

 Jis: Yes, I will

 Ben: (sitting on a chair, thinking)

Truth be told, this time he came up with some nice crockery, it's the white striped type

 Ben: (reads)

 So cute, I have to admit it

 Ben: (flips the newspaper pages)

The line is circular around the cup, with the edge of the cup, and the rest of the cup is black, and the dish of the cup is black, except in the middle of it exactly where the cup stands, it is white.

The duality experienced by the two characters is clear and can be realized by the fact that the two killers, although they possess the power of the pistols they own, they live a lot of fear or terror that they show with random movements and confusion as soon as they hear any movement and that despite the criminality they live in, they give up The food that they have no other than just to drop the order sheet for the mute server cart (the mute server is a cart that carries food between the layers of high buildings) and the strange and mysterious order sheet that indicates the absurdity of the world that people live in with irony because the danger outside or its unknown source is dangerous On the two murderous characters who pose a source of danger to the victim they are trying to kill, which we cannot understand that it is danger and terror within us, given that fear does not exist in the first place, and this is what Pinter tried to explain to us that the seeds of destruction, evil and fear come from within the human soul.

If we want to go deeper into reading this play, we can realize the method of questioning most of the situations that can contribute to creating an element of ambiguity and fear of the issue of long waiting that can put us in permanent confusion, for example:

Jis: When does he call us?

Ben: (looks at the newspaper)

jis: When does he call us?

Ben: What happened to you? He can contact us at any time, any time.

jis: (moving to the end of his bed) I was going to ask you a question.

Ben: What?

jis: Have you noticed how long that tank takes to fill up?

Ben: What shame?

jis: who's in the toilet.

Ben: No, does it take long?

In his dialogues, Pinter mixed between laughter and crying as a kind of duplicity, albeit in different proportions, and he was able to produce a comedy despite the fear and anxiety experienced by the characters and from the same source of fear and anxiety, and the descent of the dumb servant and movement outside the room are all conditions that call for fear and anxiety, but he was able to employ them to produce funny situations from During jumping into the dialogue, the lack of coherence of the sentences and the truncated endings of the dialogues, or the use of words in misplaced places, which can contribute to building an image full of suggestions that contribute to increasing the scope of the recipient’s imagination in decoding symbols, analyzing and interpreting images on the grounds that they represent our subjective world or what we feel and fear. From the outside world or the unknown.

Line up Play or Fashion Show

The Idea of ​​the Play: The events of this play take place in a district of London. The scene consists of two apartments, the first to the left of the theater, Harry's apartment, and the second to the right of the stage, James's apartment, in addition to a booth or a phone booth on one side of the stage. The events of this play begin with the sound of a phone inside Harry's apartment from an unknown person. Early this phone raises concern for Harry, who answers the phone

Harry: Hello??

Voice: Is it you, Bill?

Harry: No, Bill's in bed, who's talking to me?

Voice: In bed?

Harry: Who are you talking about?

Voice: What is he doing in bed?

Silence

Harry remains confused and worried about this phone, but in the second apartment, James's wife enters and James enters, then we understand from the dialogue that the topic is about whether she will come to the store today or not, and then James tries to go to Harry's apartment to visit Bill without an appointment or know Winhal He asks questions as if he is investigating a case until he finally reaches an answer to some of the doubts he has in mind, which is whether Bell has a relationship with his wife, who works as a fashion designer and participates in a festival outside the city with Bell, who also works as a fashion designer.

Through the scene that divides the theater into three different areas, we can identify the extent of isolation that people live in, especially in Europe, which is reflected in their lives, leaving a distance between them in that each person lives isolated from the other, which leads to their lack of understanding of the other individual. Stabilizing and enhancing these things, which are similar to television or film montage, in transferring the event from one place to another, and despite the presence of more than one scene in this play, it remains confined within the scene of the one room that is defined and isolated by the walls, in addition to the process of dimming in lighting and intensity on the other hand to define areas verb. The transmission of James and his strange and unclear contacts is an attempt to rebel against the doubt and anxiety he is experiencing, to reach the truth that is absent from him, with or without success, until we realize our ability to not understand ourselves and others to not understand us, and this is evident through the lack of understanding and the differences between the four characters (the Three Men). And the wife) and a lot of arguing among them, and the voice of the unknown phone remains a source of Fear, anxiety and motivation to rebel against Bill's fear of this unknown, especially when he knows that the owner of the phone will come to visit him:

The phone rings.

Bill: Hello

Voice: Are you Bill?

Bill: Yes.

Voice: Are you home...?

Bill: Who's talking?

Voice: Don't move, I'll come to you right away.

Bill: What do you mean? who is talking?

Voice: Two minutes later, does that agree with you?

Bill: You can't do that. I'm not alone here.

Thus, the dialogues continue until Bill gets out of the house and the lights dim. Bill's escape is one of the reasons why we raise him to fear of the unknown coming. It can also be noted that the duality experienced by the husband's personality between his love for his wife and the doubt raised by the story that the wife tells him despite the love What he is experiencing does not try recklessly in some moments to use the knife against Bill or push him to the ground and put pressure on his neck, forcing Bill to confess and tell James the story of what happened and that all he has in mind is just a slander and that everything between him and his wife is nothing more than a normal meeting And a conversation in the hotel hall, and the duplicity continues to dominate the husband until he ends up with his wife seeking some of the threads of truth that try to delude him with evasion that does not lead him to an inevitable or exact result. We can see in the dialogue in most of the sentences that it was interrogative, truncated and unclear despite the simplicity of the idea on which the play was built, but we can realize the strangeness in many of its parts and the adoption of the unfamiliar in building the structure of this text. A husband and wife in this story and the unexpected visit of the husband without any warning and an attempt to intimidate him to Bill, who may try to defend himself in any way against the husband who may commit a crime during the dialogue that took place between them in a moment of recklessness.

The wife’s attempt to enter into dialogues with others or to try to establish relationships is an attempt to create a relationship to get out of the loneliness and isolation she is experiencing and to satisfy herself through these relationships to overcome the loneliness she is living in.

Theatrical Name: Ashes from Ashes

The view is from a room in a country house in a remote county in London.

The title of this play is an excerpt from a famous English song in England. The events of this play revolve around two characters, a man and a woman in their forties who are bored with them. The topic of the dialogue is about the state of love experienced by the woman, who describes her meeting with her lover to the man who expresses his questions and questions about all the small and large details, then The dialogue moves in an unconnected manner and without any unity of the subject from here and there. At the end of the dialogue, it becomes clear that the woman has lost her little girl in one of the stations.

The focus on the dialogues in this play is clear to him cutting and cutting in most of his dialogues, in addition to the lack of coherence in most of its parts and words, surrounded by interrogative and denoting and absent from the unity of the subject

Devlin: Improving that hypnotic?

Rebecca: When?

Devlin: Now.

Rebecca: No

Devil: Really?

Rebecca: Why not?

Devlin: By now?

Rebecca: I

Devlin: What do you think?

Rebecca: You bastard.

We can also realize the duality of the characters, as the woman lives in a state of remembrance of love and an old meeting with a lover who remains in the memory without remembering that he said the word “my love” to her, in addition to the state of sadness in which she lives due to the loss of her daughter, who does not forget the moments of her loss.

Rebecca: But my daughter screamed.

Echo: I cried.

Rebecca: The man called me to come back.

Echo: Call me back.

Rebecca: And he said: What's with you?

Echo: What do you have?

Rebecca: He extended his hand to the navel.

Echo: To the navel.

Rebecca: So I gave him the purse.

And the humiliated man lives a state of love on one side with this woman and loss on the other side, which we can perceive through the nature of this place that indicates loneliness and that the hut suggests in the far end of the city and the little lighting that expresses sadness within the isolated and cut off soul The external world and cannot communicate and communicate with any other person from the outside world, and although the two personalities live in the same place, they live in a state of alienation so that one does not feel the other, and both live in a different world from the other.

• Rebellion can be considered the synonym or alternative to the word experimentation in various types of literature and arts, as it is the moment when man transcends all the different natural and positivist laws, considering that he can reformulate the form of life and experience in the image that the rebel or artist sees

• Ideas, as the major motivating force for man in this irrational world, can move his mind for rebellion and tampering with the existence of a conscious human base far from creation until it is the ground from which he starts

• The first steps of the rebellion in the theater began with the stipulation that it is the first laboratory capable of experimentation and that it holds the widest space for this experiment

• Rebellion and absurdity are considered the highest levels of human consciousness

• We can only realize the absurdity by replacing the quantity of the existing experience with its quality. In other words, man must live and live better in all moments of his life so that all his actions are rewarded

• Art has a high ability to elicit admiration from people at any moment

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