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شمس النهار

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عن المسرحية: ذه مسرحية تعليمية . . . والأعمال التعليمية في الأدب والفن ، من " كليلة ودمنة " إلى " حكايات لافونتين " إلى مسرحيات " بريخت " وغيرها من آثار هذا النوع ، إنما تهدف إلى توجيه السلوك الفردي أو الاجتماعي . . وهي في أحيان كثيرة لا تخفي مقاصدها . . وتتخير من العبارات ما يصل توا إلى النفوس ويرسخه في الأذهان . . وتنتقي من وسائل التعبير أوضحها وأبسطها . . وتتخذ أحيانا من وضع الحكمة والمغزى في صورة مباشرة سلاحا من أسلحتها . . وهي على خلاف الفن الآخر الذي يخفي وجهه ويدعك تكتشف ما خلفه، تكشف هي القناع وتقول لك: " نعم أريد أن أعظظك فاستمع إليّ ! " وإزاء هذه الصراحة منها نصغي إليها راضين . . وهكذا أصغينا ولا نزال نصغي إلى حكم " كليلة ودمنة " وعظات " لافونتين " ومسرحية " بادن " التعليمية لبريخت . . دون أن نضجر مما نسمع . . ذلك أن الوعظ في ذاته فن ، ما دام قد قدم إلينا في شكل جميل. كل ما أرجو إذن لهذه المسرحية ؛ هو أن يكون مضمونها قد قدم في شكل غير ثقيل على النفس ، وأن تحقق ، ولو بقدر ضئيل ، ما تهدف إليه من مقاصد.
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Tawfeek Al Hakeem

He was born in Alexandria and died in Cairo. An Egyptian writer and writer, one of the pioneers of Arabic novel and playwriting, and one of the prominent names in the history of modern Arab literature. Over successive generations of writers, his famous play Ahl al-Kahf in 1933 was an important event in Arab drama, as this play was the beginning of the emergence of a theatrical trend known as mental theatre. Despite the prolific production of Tawfiq al-Hakim, he wrote only a few plays that could be represented on stage. With a great deal of depth and awareness, his theatrical movement was called mental theater due to the difficulty of embodying it in a theatrical work, and Tawfiq Al-Hakim was well aware of this, as he said in one of the press interviews: “Today I set my theater within the mind and make the actors ideas move in the absolute of meanings wearing the clothes of symbols, that is why it expanded The gap between me and the stage, and I did not find an bridge that transmits such works to people other than the printing press.Al-Hakim was the first author who was inspired in his theatrical works with topics derived from the Egyptian heritage, and this heritage was inspired by this heritage through its different eras, whether they were Pharaonic, Roman, Coptic or Islamic, but some critics They accused him of having what they described as pharaonic tendencies, especially after his novel The Return of the Spirit.

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