Experimental scenography for ceremonial theatre, “Ibn Al-Roumi in the shantytowns” by Abdul Karim Barsheed as an example

After a long time of working in the Arab theater, this theater sought to formulate contents that approach the mind of the spectator in the various Arab countries, where the idea of ​​rooting the Arab theater was formed with the emergence of many trends such as Al-Mukladati, Al-Samer, and the improvised and celebratory comedy, calling for it by its owners, starting from the sixties of the last century. After passing through different stages, the scenography reached the current era, emphasizing the coordination of visual elements in the show with mechanisms to achieve participation or imaginativeness, as is the relationship between the artistic form and the audience. The motive for this study is the need to return to the heritage and revive its cultural and historical considerations, which some Western theater scholars forgotten, under the pretext of modernizing theatrical work. This article, which relied on the descriptive analytical approach, seeks to study the experimental scenography of ceremonial theater in the play " Ibn al-Roumi in the shanty towns, " one of the works of Abd al-Karim Bersheed, the Moroccan playwright, who is considered the first to take serious steps in this field, leaving a unique literary imprint and achieving the Islamic identity, drawing The extent of the writer's success in realizing the aspects of celebration and rejecting the standards of inherited classical culture and the molds of Western thought. One of the most important findings of the researchers is that Berchid used various scenography in his play, which indicates the extent of his richness and richness artistically, aesthetically, and spatially. Scenography and the dominance of the celebratory vision in some form.