Stand Up, Al AS Drama Portfolio

Standing up, inspiration of the combination of Al AS drama, goals and skills I think that the purpose of this drama is to make audiences happy, letting them think. They do not understand everything in this work, they want the audience to think about it when completed, so they continue to question the work. Specifically, I hope that they feel sympathy and warmth in our main character Al. Because they are with him as a person, not an actor, this will allow them to enjoy the show more.

Drama Course: Response Portfolio Scaramouche Jones 10 Years of G.C.S. E. Drama We are studying "Scaramouche Jones" which Justin Butcher plays. We read, discuss, develop and rehearse some parts of the drama, and using some of the drama exploration strategy, we have deep understanding and appreciation of the explored dramatic text I have. Before we started to read the text, we were divided into two groups and we were asked to do a 1 minute clown show. This sketch is based entirely on the interpretation of our clown action.

Standing up, inspiration of the combination of Al AS drama, goals and skills I think that the purpose of this drama is to make audiences happy, letting them think. They do not understand everything in this work, they want the audience to think about it when completed, so they continue to question the work. Specifically, I hope that they feel sympathy and warmth in our main character Al. Because they are with him as a person, not an actor, this will allow them to enjoy the show more.

Al-Magare, Abdulla Ali. "Tawfiq Al-Hakim is trying to create an Arabic drama: I will appreciate his theoretical efforts." In 1988, Indiana University. This thesis examines the origin of Hakim and the theoretical effort to establish Arab drama. His contribution includes four important areas: originality, formality, content and source of information. The study shows that Hakim should be seen as a literary and dramatic pioneer in changing Arab drama.

Farrag, Nadia Rauf. "Youssefudris and modern Egyptian drama." Columbia University, 1975. Many critics have argued that the Arab world did not have any form of drama before the 19th century Today's drama mainly translates or imitates works of Europe at the most. Popular literature is verbal and spoken in Arabic and can not be regarded as literature. In order to challenge this belief, the author tries to prove that popular literature, in particular Arabic drama expressed in colloquial language, existed for centuries. Then he talked about Idris, his aim is to create a real theater without the influence of the West.