The theories, principles, and methods developed for understanding and critiquing literature are largely derived from Western thought. They lack deep-rooted origins in Arab culture, except for a few scattered references that are insufficient to provide a complete picture. However, Arab critics have made significant attempts in practical criticism, as demonstrated in the book "Arab Theatre: Pioneering and Establishment," which presents textual references confirming the global dimension of criticism. This book highlights the increasing density, organization, and accuracy in analyzing theatrical phenomena while emphasizing critical schools and strict methodologies that open new horizons on reality based on dialectical materialism as the essence of critical studies.<br /><br />The dialectical critical approach aims, first, to uncover the relationship between literature and class reality and, second, to analyze the structural elements and mechanisms of this content-form relationship as it manifests in different contexts. This perspective interacts dialectically between the formalist approach and the dialectical realist approach, as seen in the works of Lucien Goldmann and Georg Lukács, which are based on social and historical structures.<br /><br />In his book "Arab Theatre: Pioneering and Establishment," the critic Dr. Jameel Nassif Al-Tikriti follows the framework of genetic structuralism, which focuses on the primary material in its structural and architectural composition, emerging from class consciousness within its social and historical contexts. He also highlights how this consciousness transforms into a worldview through literary production. The book contains elements of ideological rigor, adopting a revolutionary perspective that calls for a fundamental transformation of structures and concepts.<br /><br />Al-Tikriti was particularly influenced by the genetic structuralism formulated by Lukács and Goldmann without explicitly declaring his adherence to this approach. He incorporated its characteristics, considering structure as originally an architectural concept related to construction and organization. As a result, he viewed structure as the way elements within a group are arranged, interrelated, and interdependent, with each element deriving its meaning from its relationship with others. In theatre, structure consists of stable internal relationships that define a specific set, where the whole governs the parts, making each element comprehensible only within its context.<br /><br />Al-Tikriti analyzed the content structure in "The Miser" by understanding the overall theme of the play. He explained that the boundaries of content structure lie in the artistic perception of the play and the environmental factors influencing its elements. These factors include the cultural values of a particular time period, linked to socially perceived reality, as illustrated in "The Miser." The content structure of the text reflects a comprehensive understanding of theatrical techniques with all their structural characteristics. Neglecting any of these elements leads to disruption in the artistic and value-based composition of the play.<br /><br />In "The Miser", Maroun Al-Naqqash embodied a pioneering phenomenon where reality imposed its conditions on theatrical writing, influencing the dialectical behavior of characters in their performance and dialogue. This theatrical dialectic is rooted in a text that represents a civilizational equation, reflecting the unique characteristics of theatrical structure as a phenomenon bound by its social and historical conditions.<br /><br />Al-Naqqash's theatre, as a cultural and civilizational unit, stands apart from other literary traditions in the Arab world. It differs in its structural composition from Western plays such as Molière’s The Miser or Plautus’ works, yet it has been compared to Shakespeare's The Merchant of Venice. As Al-Tikriti stated:<br /><br />"Although there are similarities between Al-Naqqash, Molière, and Plautus in exposing unethical greed, fundamental differences exist in structure, resolutions, and the emotional and intellectual trajectories of each play. This makes Al-Naqqash’s The Miser closer to The Merchant of Venice by Shakespeare."<br /><br />These plays, including Al-Naqqash’s, form a network of societal relationships that rely on social structures as an expressive tool. The theatrical phenomenon can only be fully understood within the framework of the social and intellectual structures that generate it.<br /><br />The critic employed this realistic perception to shape the artistic content structure, emphasizing the impact of cultural units on theatrical phenomena and illustrating the aesthetic movement of characters and gestures. Here, movement on stage serves as a formal artistic representation of content structure.<br /><br />In his analysis of The Miser, Al-Tikriti argued that a theatrical work is artistically and environmentally perceived within a creative reality that asserts its Arab identity, relying on social and historical structures. Thus, the raw material of the play aligns with its artistic elements, making its thematic identity a sociological concept that shapes the structure of content.<br /><br />The theatrical form drawn by Al-Naqqash serves as an artistic expression of the core theme of miserliness, a necessary reflection of Arab behavioral traits, as expressed through characters, dialogue, and structure. As Al-Tikriti explained:<br /><br />"The artistic structure of any theatrical work is inherently connected to its form. In turn, form is organically linked to content, making it impossible to separate the two."<br /><br />Al-Tikriti also disagreed with Dr. Najm regarding the structure of the play. Najm believed that Al-Naqqash could have shortened the play to three acts, arguing that the main theme was resolved early on, and the remaining acts merely mocked the miser.<br /><br />However, Al-Tikriti countered that the content extends beyond this limited interpretation. The additional acts were necessary to deepen the intellectual and psychological dimensions of the play, ensuring that its philosophical and psychological depth matched its structure. In his view, a theatrical work is an autonomous entity that relies on its intellectual and environmental properties, shaped by its civilizational and sociological composition.<br /><br />Sustainable Development Goal (SDG) Achieved by This Article<br />This article aligns with SDG 4: Quality Education by:<br /><br />Promoting academic research and theatrical criticism, enhancing the understanding of Arab theatre and its global influences.<br />Developing critical thinking in literature and drama, helping students and scholars analyze the cultural and social dimensions of theatre.<br />Supporting higher education by contributing to curricula in literary and theatrical studies.<br />Additionally, the article touches on SDG 11: Sustainable Cities and Communities, as it highlights theatre’s role in reflecting societal issues and enhancing cultural awareness within communities.<br /><br />Almustaqbal university , The number one university in Iraq