The aesthetics of pedagogical discourse in ‘A time travel through time’ | Aqil Hashem

Educational philosophy agrees on the importance of education, and its leading role in shaping awareness, building personality, and modeling for the next generation. Because of this importance, countries are involved in the inputs and outputs of education by adopting the philosophy of awareness raising and approving curricula and study programs in which art is the backbone. this art is theater ..

Theater is considered a noble art that refines the soul and straightens the mind, and it has been used as an educational tool for young generations, in addition to its educational role.To produce literature that meets the needs of the child, and opening wide horizons. for him to fulfill his desires and thus prepare his personality to be a future man. For this reason, the author of theater texts for children must live their world, reincarnate their personality, understand their psyche, objectively realize their abilities and their abilities understood. faculties, and then start writing He chooses the text and his sciences in a simple pronunciation style and a clear idea that is compatible with the educational family interaction.

The writing addressed to the child is considered an essential pillar, as the child interacts with “event / characters and observes them closely, and shares their hope and pain. This is an essential component, like other components of a live theatrical performance, represented by directing, scenography, acting and music.

The peculiarity of the theater aimed at the child, let us explore its depths using various methods and critical aids, and these concepts and methods fall within one of the efforts aimed at the components of the theatrical discourse of the to know child, which is represented. in an overlap in which human figures permeate with future knowledge.

The person involved in writing for the child will address the children’s thoughts and feelings, move them and be touched by them, and we can see the importance of this in theatrical presentation aimed at the child as a way of theatrical expression. , for all its characteristics make it at the forefront of theatrical presentation techniques that express the intangible, for its expressive characteristics that qualify it to expand the outlet valves of the inner feeling To show in the child’s conscience and his artistic and cultural taste, and how it is received as a supportive and auxiliary influence for the performance of characters, situations and the spirit of the show as a whole.Therefore, serious attention must be paid to educational and cognitive concepts in theater work aimed at children with the age difference.

A group of texts from this theater group, “A Journey of Time Through Time” and other plays by Dr. Zainab Abdel Amir, with the participation of Dr. Hussein Ali Harf to a theatrical text entitled Hand in Hand.

As for the poet Jalil Khazal, he contributed to the writing of some of the songs, and here are the lyrics of the group, which are included:

A time travel through time

– Aladdin and the magic book

– my right bell

– The wretched knight and the strange paper

– hand in hand

This is one of the new theater experiences, which the author saw as a necessity to keep up with the development of the various arts, and also contributed to the development of theater in text and presentation. Among those ideas are “freedom / Einstein’s theory of relativity / leftist ideas … etc., Which have existential, scientific and philosophical implications …

Thus, theater today is no longer just a space for just fun, but it has new functions that extend beyond giving the text special aesthetics, similar to what poetic literary texts give aesthetics and knowledge. This applies to all types of theater, especially the one aimed at the child. Perhaps the children’s theater is the most popular theater to use expressive electronic visual techniques, which is part of the show and the children’s great interest in digital technology, which gave him magical fantasy worlds that feed his curiosity and love of adventure. This is what prompted the author to work on her dramatic texts with the skill of the expert in his profession, realizing the importance of that contemporary notion of giving the theatrical text aimed at the child a conceptual dimension in addition to the aesthetic discourse.

Dr. Zainab Abdel Amir excelled with this experience of “writing for the child” as she possessed a knowledge and a professional experience that had an impact on the development of her writing talent, which went beyond a humble beginning to the stage of craftsmanship in writing, writing in an easy and memorable style, and perhaps the idea of ​​using technical techniques came from the means Communication with the conceptual lesson is an advanced step for the value of keeping pace with modernity , the psychological and social study of the child, his cognitive formation, and his intellectual orientation, and works on the formulation of a pedagogical conceptual discourse within the dramatic texts as messages in their form, structural structure, context and authoritative motives, as well as the accuracy of the information from the sources from which the author drew her scientific material, or based on it in the editing, so that it is possible to the content and to understand its cognitive carriers, and to discover its functions that the “writing self” expresses.

One of prof. Zainab Abdel Amir’s pedagogical books are “educational texts.” These interesting texts, in the title of this group, are proof of interest in this vital and important aspect. Writing for this important group within society is of great value.

These texts have dealt with scientific and aesthetic interest, as they are a web of multiple relationships worthy of discovery. The focus in these texts is on the child’s interaction and simulation so that he is able to extract valuable data from an effective analysis and coherent interpretation of each dramatic action.

As for the writing style, she combined suggestive words, useful information and imagination in her lyrics, in addition to the musical clock of expressive songs that are in harmony with events and simple pictures, and the use of the senses in shaping the image, language and style, where language represents a differential element in writing for children, and some of the characteristics manifested in it. This was explained to the children, including: teamwork, and the dominance of the language of the senses in order to child, and to introduce the narrator to address the audience.

Finally, we say that few dramatic texts have been written for children, despite the presence of a large number of writers who have experience in this field and in this cognitive space, and of course taking into account the linguistic and spiritual levels and knowledge of the features and characteristics of each stage of childhood. And that this space is not limited to one color, but rather includes all human knowledge

As for the goals of children’s dramatic writing, there are educational goals, cognitive and emotional goals, recreational and leisure goals, and cultural and artistic goals, which carry the characteristics of children’s stages, and express them, and in which the author is separated of his creative self, so he writes through the child’s self, so we find that the standards differ For the child’s age group, it is not dramatic texts on paper, but visual observation (reading or watching).

And that this group of dramatic texts that we have in our hands is the fruit of what we have been talking about, from which the author has taken another step for her writing-knowledge approach to future writing about the world of children and its issues, importance, characteristics and goals, and how much we need many, many of these dramatic texts that are different and transcend the conventional texts. It has become a thing of the past for the media world today and one of the challenges of the times.

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