مؤثرات تِقَنِيَّة في مسرحيات علي أحمد باکثير

کتب باکثير المسرحية شعرا ونثراً، وتجاربه الشعرية في المسرح أسبق من تجاربه النثرية، وهذا يعني أنَّ الأديب امتلک براعة أدبية مکنته من تطويع هذا الفن للحياة المعاصرة، شأنه في هذا شأن أبناء جيله، الذين کان عندهم أداء الکلمة أمانة، وهو إحساس يضاف إلى إحساسهم الإبداعي، ولهذا واکب الأدب العربي الحياة المعاصرة في تطورها. والمسرحية من أکثر الفنون الأدبية استجابة للتطور، وأسرعها مواکبة لمتطلبات الحياة؛ لأنَّها صورة فنية مقتطعة من الحياة بموضوعية، ومن أجل هذا تحقق للمتلق متعتين: أحدهما تأتي عن طريق الکلمة التي هي أدبا، والأخرى تأتي عن طريق المشاهدة التي هي فنا. ومتعة المشاهدة أقوى إذا کانت المؤثرات التقنية نابعة من النص الأدبي ذاته؛ إذ إنَّ هذا الفن من الأساس يعمل على إيقاظ الوعي.
Bakatheer wrote the play in poetry and prose, and his poetic experiments preceded his prosaic ones; this means that the dramatist possessed literary cleverness that enabled him to adapt this art to contemporary life, as did most people of his generation, who were honest in writing this was a feeling that can be added to their creative feeling, and for this reason Arabic literature kept up with life in its development. Writing plays is one of the most literary arts responding to development, and one of the fastest coping with the requirements of life. This is because theater is the vessel of thoughts and feeling since its origin, and thus it achieves two pleasures for the audience. One of them comes from the word which is literature, and the other comes from watching which is art. The pleasure of watching is more powerful if the technical effects originate from the literary text itself. This is because art originally gives rise to arousing awareness as technology is now controlling the course of life; from the scientific, thoughtful literary and behavioral points of view. Any dramatic points of view. Any dramatic should communicate with the latest style creeds, trends and technique, which are accelerated one day after another. Bakatheer was conscious of the technical effects on society, and he employed it in the structures of the text. And this is what motivated me to write on this subsect, and I dealt with it in two parts: the tackles the theatrical text between technology and creativity. The other treats technology and the manifestation of creativity in Bakatheerk’s plays.