Child-oriented Theater Text in the Primary Education Curriculum (2024) in Morocco Reality and Prospects

The digital transition we are witnessing today requires rethinking child-oriented literary texts and ways to integrate them into educational institutions, as they are considered an important asset for every learner, as they play a pivotal role in conveying ideas, beliefs, and values in an aesthetically pleasing way. This is due to their pivotal roles in transmitting ideas, beliefs, and values in an aesthetically pleasing manner. And also because of their ability to confront the linguistic and cultural alienation and psychological alienation imposed by digital technology, especially after the COVID-19 pandemic. The child-oriented theater text is among the basic literary writing forms that can play a pivotal role alongside textbooks in confronting the effects of the 21st century on identity, values, creativity, and independence. Through its ability to develop children's life skills, it helps them develop their language and refine their talents. The latter, in addition to its literary value as a reading text, complements itself with performance (acting, decoration, dress...), which enhances its uniqueness and its ability to communicate with a generation of children who spend more than half of their time on digital platforms: (Facebook, TikTok, Instagram, electronic games...) But, unfortunately. The latter, despite its essential place in the social and value socialization of children, has not received the necessary attention compared to other literary texts: (adult-oriented theater texts, poetry, novels...), where we found an absence of child-oriented theater in the curriculum of primary education in 2024 in Morocco. Outside educational institutions, we found some child-oriented theater works, such as a collection of children's plays entitled: "Farha - Moon, Husam and Ghoul - Let's protect our castle" (2020) by Abdelmoula Mehtarim (Morocco), and the series "Let's Act" (2013) by Khadija Soukdali (Morocco). which should be used along with other artistic productions in the school curriculum for primary education, and adopted as a mainstay to protect current Moroccan children from the negative effects of digital technology and enable them with skills that give them the ability to deal with rapid technological development rationally. This makes us wonder about the reasons for the absence of the child-oriented playwright in the 2024 primary education curriculum in Morocco, despite its essential place in the upbringing of the child, the preservation of his identity, and the realistic transmission of messages and values. Thus, in this paper, we aim to discuss the reality of children's theater as a literary text in Moroccan schools and clarify its essential place in the face of the consequences of digital technology and modern means of communication. We will also discuss the prospects of the latter in the educational environment in Morocco, while proposing modern ways that would first: Convince decision-makers of the necessity of effectively integrating child-oriented theater texts in primary education institutions. Secondly, encouraging child-oriented drama writing in Morocco, especially since we know that this type of writing is not easy, as it requires the dramatist to have extensive knowledge of the child's world.