The aesthetic improvisation of street theater and its relationship with the recipient between places Internal and external

Since the mid-sixties of the last century, theatrical movements have appeared in the Arab world calling for a departure from the traditional framework of theatre. The art of street theater, or what is called improvisation, has emerged as a form of protest and social activity. It is a theatrical performance shown in public places without specifying a specific audience. The goal behind this was for the theater to reach the audience anywhere, and it also allowed the audience the right to participate in the show, thus necessitating innovation in theatrical technique, in terms of direction, decoration, and acting performance. Street theater has continued to evolve and adapt to the changing social and political landscape of all societies. Artists and activists have adopted new and innovative techniques to engage audiences. These performances now include new elements, techniques, multimedia, and site-specific productions to create new, enjoyable and effective experiences for human causes.

(Street theater) relied on a set of mechanisms that differ in their details from closed theater. It depends on direct interaction between the spectator and the performance, and it is generally accepted that it is carried out in the streets, squares and parks, but the research also confirms that street theater performances can be done. In closed spaces such as the metro, companies and institutions, such as the show (Without Borders) held inside the building (Luxor Culture Palace), dispense with the high cost of traditional theatrical performances, and exploit the advantages of (street theatre) in creating interactive performances capable of presenting the problems of the society in which it is held. The presentation varies depending on the audience and the location of the presentation This type of theater is distinguished by several characteristics, the first of which is that its performances are not performed on a traditional stage, and it believes in the idea of participation, and the third is an expression of the recipient's daily issues.