Expressive in literature remains on the different place and time, it constitutes a blatant holistic tendency that aspires to detect in a dramatic and influential way of the suffering of the contemporary man, and its effects are reflected on literary product of all kinds, and extends to include other arts such as dance, drawing and music.
And expressive in its linguistic sense means depicting the surrounding feelings of the human soul, and conscious and unconscious feelings, through which the essence of man and the truth of the living himself are clear with its instinctive and moral patterns, and our tendency to the simplified linguistic interpretation of the expressive is not a rebound tendency to the interior, but rather it is one of the most loving technical movements to accommodate the burdens of the collective ego, and the polarization of what is surrounding it Crazy and challenges that meet their implications more than a writer and artist.
Expressive origins and intellectual sources
To clarify this mysterious phenomenon in world literature, we do not find more appropriate than this paragraph that Dr. Abdel Ghaffar Makkawi is on the tongue of the critic “Herman Bar”, who was one of the most prominent contemporaries of the expressive movement and one of its most enthusiastic calling, by saying Bar “in this period screams in search of himself, and the whole age has become one cry that speaks of the plight, and art is also screaming with him and shouting with him in the depths of darkness We seek help in the soul. “This is expressive.
Critics and historians of literature differed in determining the location of the emergence and its time as a stand -alone artistic movement, but most of them acknowledge that Germany is the first source of this blatant emotional intellectual approach, which rejects all surface treatments of the background of humanitarian issues and their internal components.
After Freud’s theories appeared and his experiences ripened in the field of psychoanalysis, a group of disturbing writers was taken with attention to the eagerness of these esoteric explorations to employ them in their writings, as they began to dive into the depths of the human soul, and they are referring to their troubled and tense impressions to expressive cries and protests that violently confront the drifting of the physical technological civilization, this civilization that referred Ethical values and ideals to numbers and equations included in the profit and loss schedules from the point of view of utilitarian ideas.
Thus, expressive appeared in the late 19th century, an invitation to pay attention to the storage of social and political soul, then this movement was determined stronger in a stronger and more general way in the first quarter of the twentieth century, where more German youth rushed between 1915 and 1925 to raise their voices high, and to mobilize their expressive cries in a corrupt smoky atmosphere full of grinding national conflicts, pressing material currents, On the First World War.
Expressing poetry, novel and short story
In the field of poetry, 3 young voices appeared in Germany, which made the poem a blatant painting, characterized by suggestion, full of protest against the boring of reality, rich in longing for a new Utopi world characterized by idealism and desired purity.
These prominent voices are the poems of “George Heim”, “George Track” and “Joe Taghreidbin”, and we are satisfied with this hurry that we supply a clip from the poem “Heim” that Malakawi translated in his book “Express” in order to demonstrate the nature of expressive poetry in a clip in which the poet describes the gods of war in tyranny and tyranny, and he says:
“He got up from his sleep
Whoever sleeps
He got up from the deep low nicknames
He stands in the twilight huge and free
The moon is crushed in the black hand.
As for the field of novel and the short story, even though expressive creativity was less effective than others, given the nature of the narrative work of the work and reflection, yet a good number of story has emerged in this field with the progress of both Alfred Dublin, “Carrell Einstein” and “Franz Kafka”, who was in close contact with the expressive novelists, in addition to “Robrot Mozel” And Thomas Man.
Expressive theater
On the level of the theater, the expressive movement was more prominent and crystallized, as the expressive theater pioneers announced their revolution on the classic imitator drama in “Lesing”, “Goethe” and “Sheller” as they rejected the natural doctrine of the realistic approach of “Ibsen”.
And if the expressions had an apparent role in the field of poetry and the story, their role on the stage was the greatest impact on spreading the spirit of vitality and excitement in the nature of theatrical performance that has long been dominated by boring monotony, and the traditional restrictions controlled in authorship and directing, so the harvest of expressive writers in the field of drama was surpluses in all batches of protesting against the will of the human psyche, and its emotional and intellectual benefits.
These renewed theatricals did not start the vacuum, as they found in the work of the playwright “George Bouchaner”, which nourishes their ambition, as they found in the production of “Strand Berg” and “Frank Decand” a lot of internal conflicts and analytical trends rich in expressive symbols and multiple monologues.
The expressive play came from the sound of war, the hustle and bustle of technological progress, the fever of escalating national fanaticism, and it is natural that this color of plays is characterized by blatant rejection and rebellion against the live reality, and the sweeping nostalgia to a new calm world in which man regains his lost essence.
A preliminary reading of some expressive plays makes us reach that the expressive play was formed on the stage with new artistic features based on experimentation, and we can see this renewal and experimentation in some of the plays that “Brotold Berkht” left for the lovers of the expressive theater despite his preoccupation with epic and mental theater, which are “night drums”, “cities ribs” and “three sharks”.
Dr. Makkawi also indicates – in his study of the expressive theater in Germany – that the triple play “Gas” by “George Kaiser” is a unique model of the expressive play rich in conflicting situations and deep suggestive suggestions.
In his book “The Forty Theatrical Doctrines”, the critic Drini is exposed to the most prominent artistic features that characterize the expressive play for others, and we are interested in visiting in this regard between what was mentioned by a wood and what we have of the impressions and reading conclusions of models from the expressive theater in terms of dramatic work that has become at the forefront of literary arts.
The artistic features of the expressive play
The events of the expressive play usually revolve around a pivotal personality that carries in itself a problem whose psychological effects are reflected on the hero’s movements and his operatives. As for the rest of the characters, they are far from the light moving in the shade, and if they appear, they appear as a side appearance, it comes as an assistant to the pivotal role of the character and a servant of the general idea.
In the expressive play, the hero is resting to breath, and then continues the movement on the path drawn and leading to salvation from the acute crisis, which the pivotal hero has put its dimensions to the public from the beginning, and an exciting emotional way aimed at finding the integration between the theater and the public.
This does not mean that the expressive play – has its attempts to possess the conscience of the audience – depends on a formal tuning or the manufacture of a dramatic millo in performance, but rather comes by its nature charged with deep balanced screams and sincere gestures accompanied by a crossing rhythm alongside theatrical tricks, masks and light transformations from side to side, where the element of lighting is a basic pillar in directing the expressive play, Both the author, director and lighting engineer cooperate in shedding the spotlight on the pivotal hero, in a manner that is commensurate with the psychological state that he is going through, so we see the viewer full of lighting and obfuscation, and drawing fantasies, shadows and ghosts, as this helps all in suggesting the secrets of the soul and its pent -up.
In the free rebellion against the monotonous classic, and as a result of the comprehensive protest against the natural schools and mysterious symbolism, the expressive theater book was not in need of individual personalities and presented them with its specific names and its natural image, and therefore we see them had tended to draw the model image of the character, and they only fled titles such as the father, son, man, ghost, president, and so on.
