The Reluctance of Theater

The Reluctance of Theater

If the saying that the Arabs in their history, did not know the theater is not representative and representative, in the sense of semantic and artistic and text, and did not know the literature of the theater as we understand the image today, looks a Muslim reality does not accept the interpretation or interpretation of some critics or scholars researchers in the areas of Abu Arts, To the extent that such a concept has become a tradition, but has become part of the ritual of talking about the Arab theater, it is also true that the question of theater is very dangerous and important, given a large number of views, whether they were (purpose) as some orientalists, or (Neurological) as some European theater makers.

 

We all know that orientalists in general, led by Ernest Renan, have attributed the lack of knowledge of theater literature to the Arabs to a fundamental lack of their mental nature, based on racial discrimination between the Aryan and Semitic sexes. Rinan said that the Aryan mentality was concerned with philosophy and science, As the Tawhid is the greatest manifestation of the supreme genius, it came at the expense of other aspects of human thought, including the myth. According to this fanatical orientalist, the Semites do not have legends because the myth is idolatry in religion … but if the Arabs are by their mentality The General have turned to the affairs of d The theater, as we all know, grew up in the embrace of religion. Perhaps this is why the Arabs have known theatrical literature.

Religion and theater

The scholars of interfaith relations have agreed to establish religious belief in the nature of man since the earliest times of history. Some of them even went to the world, To say that there is a religious sense leads a person to believe and to be fed. Therefore, every nation necessarily knew religion, but the knowledge of religion did not necessarily lead to the knowledge of theater art. In the same context, we say that (the creed) is more comprehensive than myth and not the other way around. In other words, the doctrine may contain the myth, but the latter does not contain it. The doctrine is the moral obligation, the moral sense, the hope of salvation, the meanings of obedience and allegiance, There are many myths that are caused by the inability of the human language in its early beginnings. It is nothing more than an expression of truth in metaphor.

As well as other legends that are attributed to the Queen of Photography and are not attributed to the Queen of Religion, because they do not exceed the symbolic descriptions and the similarities of art that emanate from the imagination, in addition to that the person hears the myth and does not recognize it, and recognizes the doctrine does not need to be painted in front of him the color of myths, Proof of the rituals and legends of the ancient Arabs is a result of nothing.

Early rituals

Some studies have shown that the Arabs knew the representative rites that were the basis of the drama in Greece, as the Egyptians, the Assyrians, the Babylonians and the Indians knew, but they did not evolve as they did not develop in most of those ancient nations in their history and civilization. The archeologist, Etienne Drioton, who wrote in his book on the “Ancient Egyptian Theater”, pointed out that the ancient Egyptians knew the religious myths that are the basis of the theater. They knew the art of conflict, which is the element of drama. Good and evil, life and death, algebra and brotherhood Stream.

In contrast to the radical orientalists, many of them, such as O’Leary Gyeon in his book “Arab Thought and Its Place in History,” and Nicholson in his book “The Doctrine and the Shari’a in Islam,” and Jerob Nippaum in his book “Arab Literature,” all proved or more accurately did not deny That the ancient Arabs had legends in the ignorance, but they had the rituals of representation like other nations of the earth.It can be said that the theater is not a human characteristic characterized by every nation to accuse the nation in its purity and genius if it did not know the art of theater, it is not the language of speech or the language of poetry, so that the nation without them dumb or non-poet, but is an art added to the rest of the arts , Or is the art of grouping several arts, I mean it is not a simple art that stems automatically from the human instinct, but is a composite art derived from the experiences of peoples, and the Arab language that has reached the level of development that is not enough to be said to be a language of poetry or language Poeticism, but (poet language) does not misrepresent this language that it is absent in the old literature of the theater.

Finally, it is not important whether the ancient Arabs knew the art of the theater or did not know it. What is important is that modern and modern Arabs have known this art and that they have brought it into the art of other sayings, such as the novel and the short story. The audience and the great reader of the literature of the theater, and the many seen for the art of acting, and for more than a century, and do not miss them in anything, as long as the pure creativity was not a stand on the nation alone, the nation may be abundant creativity in the side, Creativity on the other hand, as well as – we did not give any culture In addition to this, the power of thinking is measured not only by creativity but also by the ability to understand what others are creating. Therefore, the nation is not accused of shortcomings if it is able to absorb the creativity of thought In another nation but accused of default if she felt the need for this art
We now know the art of the theater with all its details, its development, its schools, its techniques and its forms, some of which we have developed in various techniques, but we live in. And theatrical festivals throughout the Arab world, what should we do as we witness the many challenges facing the stage, especially with regard to the reluctance of the public to attend the plays?

Abstinence and its causes

Dr. Nihad Salihah, professor of literature and criticism at the Cairo Academy of Arts, says in her book entitled “The Theater Between Thought and Art” about the relationship between the real world and the stage world between the spectator and the play experience: “It requires the spectator to accept willingly and for the duration of the show, The theater as a reality – as Coleridge said in his famous phrase: THE WILLING SUSPENSION OF DISBELIEF .. so that it can be the vision of the play intellectually and spiritually, to become an addition to his daily system ».

In this Salihah talk, we start our conversation about one of the most serious issues of the theater, which unfortunately does not pay much attention to it even in our biggest festivals and the cultural and intellectual forums related to the arts and theater fields. And ask the question: Is the Arab public, the audience participating in the show? Or is it an audience separate from the fabric of the theatrical world, which is presented in different forms and forms of art? Is it true that the class of intellectuals and elite critics and media in our country are interested only in the theater stars and celebrities, or who have personal relationships or friends? Under what we call “Chalilism”?

What is important to us in reality is the theater as a cultural work, and perhaps as a technical exhibition combining the elements of the art of the theater art (text, director, actor, theater, theater, What is presented by this high art has failed completely to express its reality and ambitions, dreams and issues, and the theater is affected in turn because of the reluctance of the public offers, and hence arises from the state of separation and impotence in the theater, lies under the factors of unfairness is very bad, if it continues to address a wide audience Diverse, to achieve at the same time a full satisfaction to my soul Gat extremely large, imposed by the enormous confidence given to him as a militant.

And in some of the societies, the narrow social perception of his creative role. In addition, the art of theater in some countries is subject to strict control, prosecution and fighting, not to mention The concern of the majority of the world in this vital sector, because of the absence of official laws are fully effective, protect them and provide them with a stable and dignified life despite the existence of “trade unions and representation,” largely linked to the culture of power, and thus become mere institutions play a role other than role .

The theater – an area of individual work that does not adhere to class interests – will not be able to attract equally all levels of the public at once. A large segment of people in the Arab world has been accustomed to the cheap sitcoms established by the declining commercial theater 20 years ago, In addition, the Internet offers a variety of entertainment and entertainment that do not live up to the level of intellectual thought required by pirating operations that transcend all barriers of intellectual property rights. These tools enabled the enemies of the theater and they are heavy At the very least, going to the theater building is an expensive means of draining money, effort and time, in return for the pleasure we are looking at, sitting on the couch with little physical effort, as if the tongue says: The weakness of our theater lies in its relationship With the great human event, we ask: How great are the great events that have passed through our Arab homeland, yet we did not find those great texts of the play in the same way as the greatest theater writers in his golden age in the sixties? Was the disappearance of senior theater from the scene a role in the process of demolition practiced by the commercial theater without cultural, national or even moral ?!

The theater and its audience

must acknowledge the painful truth – that there is a crisis relationship between the theater and its audience, and that this relationship we see during the theater festivals, is unfortunately a temporary relationship period starts and ends in a specific time, and does not form the image we wish for a continuous daily theater creates and forms ( A theater, a book, a book, issues and dialogues, and a dialogue of experiences, which ultimately makes us a culture of theater that achieves the public taste of its active role in supporting the serious culture and creating mass culture rather than elite culture. We must recognize that there is a familiarity between the theater and its audience, In my opinion, one of the most important causes of this serious dilemma is due to the lack of aesthetics of theatrical culture in the people, so that many of those who work in the field of theater, do not study it, do not know about its development a lot, and in other areas where students of universities, higher institutes and schools of real theater art ?

The theater of literature we still do not know and this is another danger added to what the entire theater movement suffers in the Arab world, it is not surprising that a large number of the audience enter the theater hall late, Or in the middle of the theatrical play, and it is not surprising to hear the cries and jokes and whistling, and the crying of children during the play, as if nothing happened, in addition to all this lack of critical criticism and substantive movement and its role in the establishment of a committed art developed to enhance the taste of the public and the Queen of reading.

Between our audience and the theater audience abroad, and We enter another comparison in the field of sanctity of the theater as a place, culture, literature, and commitment, but there is no escape from talking about the isolation that built a wall became a wall, among the audience and the high color of the theater, the audience and through the control is not tempted by watching what is put on the stage Arab theater, and this is why the theater plays the arena, and with it
Here is a question: Where are the ministries of education in our Arab world? Are you studying the subject of theatrical education in school programs and curricula? This may be achieved in very limited countries, but the general outline indicates that such a case is still on the sidelines, but at the bottom of the official list, forgetting that the audience of the real theater we are looking for starts from school.

Suggestions

There is a lot one can be posed regarding the activation of the theater and implanting the public, including:

On the stage to present works of a distinctive artistic nature, through dramatic excitement, in the framework of act and embodiment and watching, works that combine thought, art and spectacle, and that there are serious attempts to root the issues of theatrical form and content.

On the stage to turn to the absorption of theatrical traditions and their origins and creative experiences and to impregnate the artists, and then try to embed legacies in the field of heritage, even if we had to return to the report port theater and reformulation commensurate with the situation of the public, to find a way to get closer to this audience and fill the gap separating him from the theater Serious that has become in an enviable state.

The theater plays a role in educating its audience and educating them to enter the plays. It also has to start its own commitment to opening the curtain for its performances, and then clarifying its programs, plans, projects, and participation in the festival through achieving a global idea. To develop their emotions of belonging to this art, which also achieves the formation of a stable audience of the theater away from the concept of the box office.

In the end if the argument of the masses that the work of contemporary theater is not realistic enough, and some tend to acrobatics and the technique of the theater director at the expense of the taste of the public, this is debatable, and here we must record that all art is an expression of reality and not a recording, In fact, the artist tries to abstract from his reality and works to strip him of his human and spatial manifestations, and finally comes out with a new, related life, not a photographic one, because in this case All the fantasies and creations of the writer, and on the receiver that He admits that what he sees on stage is similar to life, and is not subject to manual revision according to what actually happens.

We know that the traditional theater places a barrier between the show and the viewer through the curtain and the place, and there can be no communication between them, fearing the loss of an element of reality, and the actors know that they are presenting a special audience. This requires them to complete the characters according to Constantine Stanislavsky (the pioneer of the art of adaptation and realism in the theater), and this requires that everything is subject to the requirements of the dramatic experience to make the impact in the hearts of viewers, so that the decorations, which is usually made and the public aware of this, but according to the state of the theater himself that everything suggests reality.

Emotionally more It is an expression of truth and fact because it is not life, it derives its existence and existence from it, but it is superior to degree, it is held accountable, and then it draws a path for what it should be, and this naturally comes with the thought that determines the paths of imagination, and when the community reaches the thought of the theater and its mission and purpose Real, its real relationship is determined by, with a confirmed fact that the public A positive element in the art of the theater, and can not be ignored whatever its qualities, and we should eventually try to appease him and pull him out of television and video and the Internet world, all of the most dangerous enemies of the theater, to bring him back to the fold of Abu Arts, to the theater described by critic Elmer Rice.

Whatever the shape of society, the theater remains, and the rest of the world and the dreams of the people who live it, there will be a theater ». But what theater do we want? And what audience are we looking for? Can we imagine a theater without an audience? But what theater do we want? And what audience are we looking for? Can we imagine a theater without an audience? But what theater do we want? And what audience are we looking for? Can we imagine a theater without an audience?

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