توظيف الموروث الشعبي في المسرح الجزائري (مسرحيات محم دالطيب الدهيمي أنموذجا)

Résumé: This study of popular patriotism in the Algerian theater contains four chapters. Each chapter starts with an introduction, and each one of them arrives to a result that was used as a summary to conclude each chapter. Conclusions of each chapter helped in producing the final result of this study and thus the overall conclusion. The first chapter entitled the genesis of patriotism of the Algerian theater, is composed of four parts, in which notions have been précised like the heritage and the theater. We treated also the Algerian theater, inheritance genesis and the patrimonial inspirations like dancing, poetry and popular singing that compose the theatrical works, and the identification of the identification of the political, historical and aesthetic functions of the inheritance in the Algerian theater. The second chapter deals with the Algerian theater and its relation to heritage, is divided into four parts that were clarified at the beginning: two essential elements in theatrical heritage that are myth and legend; by approaching the manifestations of Western theater in the Algerian one at the level of form and content, then the religious, linguistic and social relationship of the Algerian theater with the Arab heritage. And finally the incarnation of the heritage in theatrical spectacle such as language and synography The third chapter, entitled The Use of Popular Heritage in the Algerian Theater, contains three parts, classified as follows: the effect of heritage writing on Algerian theater in standard Arabic, popular language and writing in Algerian dialect (El Djazaara). It also carries the heritage inspirations in the Algerian theater like popular proverbs, history, folk tale, myth and legend. In the third part, we discussed the forms of theatrical heritage in Algeria, such as the celebration, religious ritual, Fantasy Theater and puppet theater. In addition to (El gouwal) and (El halka). The fourth chapter is devoted to one of the actors in the theatrical movement in Algeria ,especially the eastern part of it, on four parts, and it has been named the use of popular heritage in the theater of Mouhammed Eltayeb Eldhimi. The writer and the theatrical director was born in Constantine, where he was first introduced, and the theatrical works he participated in writing and directing were identified. As two theatrical pieces have been treated in these studies, the first is entitled (Elaarda) and the second (sand symphony) by addressing the dramatic structure with a summary for each piece. And for the third and the fourth part one studied Eltayab Dhimi's creation of (douff elgoul w lbandir) and (ya welfi Meriem), it was studied by the analysis of their dramatic structures and the use of the heritage. Finally, we draw conclusions from this modest study at the end of each chapter, and to refute the claims that research will continue in this sensitive area, the heritage that is associated with our identity and our entity which is rooted in us, past time stretching toward us, hoping for its continuity towards the distant future, and this will only happen through our scientific efforts built on sincere research.

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