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In the following research “The Dramatical literature in the Sudan
,
its origin and development”
.
We tried to follow the movement of
the Sudanese theatre since the beginning of the twentieth century
.
This period according to the available references proved to be the
period in which the Sudanese theatre appeared for the first time
.
Thus we tried to trance its general features and disoorn the local and
the foreign factors that affected its beginnings
.
The research is divided in to three parts each of which containing a
number of chapters
,
besides there is an introduction and ending and
appendix of the summaries of the plays that the researcher had dealt
with through out the research
.
Some of these plays were not published
in bodies or may have been published but are out of print since long
time
,
after were essentially issued when the newspapers and magazines
long ago and obviously it is difficult now to have on accers to them
.
The first part includes an introductionary historical study about
the Sudanese theatre in which we studied the maintenance and the
definition of the theatre with foreigners brought with them
,
focusing
on both its role and size in establishing the Sudanese theatre
.
Then
followed the Sudanese dramatical writing period which is associated
with the Critics movement either positively or negatively
,
from the
easily beginning up to the seventies of this century
.
The second part deals with the Sudanese theatre proper which we
divided in to two chapters
,
the first about the historical theatre in
which we pointed out the most important historical sources from
which the Sudanese writers took their literary themes
.
We dealt after
words the most important subjects that attracted those writers
.
We
selected some examples that characterized each of these subjects
.
And through historical critical and analytical study we brought to
light werites and defeat them
,
we compared to the works before
them that circled around the same themes
.
In the second chapter we referred to the social theatre
,
this cha
-
ter embraces the majority of subjects that have been treated by most
writers
:
women and their right to select their own husbands
,
the
political and ruling
,
and the manners and cultures of contemporary
life were treated by the social theatre writers
.
The third part embraces the Sudanese popular theatre that is wri
-
ten in popular or vernacular didect either in poetry
(
Do Beat
)
prose
.
In the first chapter of this part we dealt with the poets
:
ABUELROS and ELABADI and we pointed out how they were
influenced by the most eloquent Arabic theatre as that of SHAWKY
.
In the second chapter of this part we studied the prose popular
theatre
.
Firstly the serious popular theatre and its most important
themes as shown in some plays which we studied then we studied
the comic
(
Farce
)
then we studied some examples and its humans
characters with extensive analysis to perceive and throw full light up on
the development that been attained by the Sudanese popular theatre
.
The research is ended with concluding chapter that exposes the
results of the research
,
besides some suggestions we felt were of great
importance for the development of the theatre in the Sudan
.
Through this study the role of the Sudanese theatre in building
up the social and cultural organizations was made clear Beside the
important role in the Sudanese political national movement
,
the
leaders of this movement used the theatre as a means to express the
expirations of the people for Justice and independence
.
During the revolution the Sudanese theatre declined and reached
its lowest standers because critics who were part of the national
movement preferred the movement no matter in what running
.
The Sudanese took interest in the translation of foreign master
pieces except in a very narrow way
,
we explained phenomena
,
for
they were satisfied with translations in other Arab countries
.
And thus the Sudanese never read these dramatic works in their
original languages which was a great mistake
,
Before the fifties the
writers concentrated moralities or what called moral values to fight
corruption and social verses
,
they called for national unity social
and family solidarity
.
In the latter period after the fifties of this century the themes i
-
creased and the subjects were multiplied thus the Sudanese theatre
began to out from its narrow precincts
,
the writers deserted the
popular current stole and joined the eloquent style or the eloqua
-
popular stile and the theatre transcended local regionalism
.
But the
subject of woman and liberation is still the exis around which many
of the dramatic works revolve
,
some writers considered the libe
-
ation of women a general liberation of the human being and the
country it as a whole
.
In this study we pointed out that most of the Sudanese writers and
mainly those social writers were interested in acting their own plays
without giving more care for analyzing subjection in which the th
-
atre as a whole develops very slowly
,
their character were superficial
and trivial for the writers super most interest was the impact and the
meaning of the dramatical work as a whole
.
Hence the preaching tones teaching attitudes and eloquent
speeches were features of these writers style
.
The research proposed that the government gives greater care to
the theatre specially universities and higher institutes that specialize
in this art
.
These higher institutes have a great vision to perform
.
The researcher sees it is necessary to print the discovered man
-
scripts and to set a complete bibliography of their dates of appea
-
ance on the stage
,
the names of the writers
,
the names of troupes and
even the individuals who acted them
.
The research began in that
field as it
.