In recent months, the Egyptian theater, or in the sense of the most accurate theater, supervised by the official institutions, was subjected to severe and severe strikes, which threatened it completely, and was represented in sudden and illogical administrative and financial procedures, which disrupted production in most theaters, and caused angry reactions in the theatrical and cultural circles in general.
And if the theatrical reactions have appeared in articles, press reports and writings on social media, the reaction of the students of the Higher Institute of Dramatic Arts has emerged in a theatrical performance, or a theatrical celebration, as they described it, they chose a remarkable title for him, "The Theater and our Mashna", a title that disclosesThe point of view of its performance is that the theater in Egypt has come out, and it may not return.The reason is not the lack of technical elements that save him from his stumbling, but rather random decisions taken on theatrical production, which are capable of absenteeism from the scene, especially since the production of private teams is very limited, given its great financial cost that is no longer available to most of these teams.Thus remains the theater that official institutions offer is a safe haven, whether as an opportunity for the players, or as an opportunity for citizens to see serious and disciplined theatrical works, at reasonable prices, as it is not a purpose of profit.
Facing the crisis
مشهد من المسرحية الشبابية (الخدمة الإعلامية)The procedures, according to what was announced, aim to rationalize expenditures, but their implementation led to the departure of the theatricals from the official theater, and the need for this theater, in light of the interruption of production, to re -present old shows.The procedures prevent the contract with elements of non -workers in those institutions, while none of these workers joined his work, as a writer, poet or dance designer, which makes it impossible to present a theatrical performance, due to the lack of these elements within the official institutions.These procedures canceled the propaganda item, that is, the makers of performances were obligated not to do any propaganda for their offers, which means that no one will see them, as well as obligating everyone who works in a theatrical performance to present an electronic bill to obtain his wages.This bill is only available to companies and senior merchants, meaning that the procedures say it explicitly: Stop the production of the theater completely.
The strange thing is that the Egyptian state always declares its interest in the theater and its awareness of its necessity as an important and effective part, and at the same time the state is the one that puts all these obstacles in front of the theater, which is something that many described as exceeding the stage of tampering with much.
In light of these confused circumstances, the students gave their offer, which is not taken from near or far the crisis that the Egyptian theater is now exposed, and perhaps it did not occur to the makers of the show that their presentation was a practical response to attempts to strike the theater in the killing of.Here lies the paradox that was the presentation of eighteen actors and actresses from the institute's students with a high degree of talent, they are: Mirna Nadim, Wissam Adel, Nagham Saleh, Mazen Jamal, Khaled Anwar, Mamdouh Al -Saeed, Nader Aziz, Nour Al -Derini, Alaa Al -Wakeel, and HananAdel, Ahmed Abbas, Menna Al -Fayoumi, Rahma Ahmed, Jana Salah, Mahmoud Hajjaj, Zainab Gharib, and Haydi Kabo...As if these people are wondering: Where do we go and the Egyptian theater now is not okay?
حوار ثنائي في المسرحية (الخدمة الإعلامية)The show was directed by Ashraf Zaki to the final year students in the representation and directing department at the institute, and it is not a presentation in the traditional concept, but it is several shows, or in the sense of the most accurate scenes of many famous Egyptian plays, comic and tragic, they were combined together for the purpose of showing the students' acting energies.Despite this, there is a thread that delivers every scene to the other in a precisely calculated sequence, and a disciplined rhythm.Even the show, which took two hours, passed without the viewer felt any boredom, and he passed as well without one darkness between the viewer, as if we were in front of a cinematic tape that was "product" mastered, to follow his pictures without any gaps between them.
Comedy and tragedy
The director - in order to show the talents of the actors - was keen to perform most of them comic scenes, and others, as well as dance and review, and the singing that the actors themselves, alive and not in the manner of "Playback", as if the director says: This is our goods that are good at allPerformance arts.
Although the various scenes presented by the actors are almost preserved for all those interested in the theater, the actors dealt with them very intelligently, as they realized very well that they are not in the process of providing paragraphs to imitate the artists or borrow their ways of performance, and that they have to give their characters to those scenes, as well as thatThe tradition will put them in a comparison that is not in their favor, which they were aware of.Most of them presented these scenes in a way that pertains to it.It is true that some of the shadows of the famous scenes stars were present, and this is normal, but there are personal additions that were also present referring to the capabilities of these young actors.
Decoration flexibility
مشهد من العرض المصري (الخدمة الإعلامية)And if the representation is the most prominent thing in the show, or it is the most important element that the show sought to present, then the other elements were an assistant and active factor in framing, or as they say in the Egyptian dialect "Broza", these representative energies.The decoration was designed by Ahmed Abdel Aziz, and it came as a flexible and aware of the nature of the show and its multiple scenes, and is keen to control its rhythm, especially since all the scenes are continuing without resorting to darkness.This is difficult for any designer forced to resort to darkness to change the decoration, but the designer here is dealt with intelligently, the only fixed view is a platform in the depth of the theater, slightly raised from the level zero, it was allocated to the band that accompanied the live singing of the actors, and included eachMuhammad Allam, Yasser Anis, Hani Al -Haddad and Yassin Badr.In the platform interface, the known theater curtain, and on the right of the scenes, the theater face, the laughing and the crying, and about its left two hearts in red, interfering, this is only what the viewer faced throughout the show, perhaps to remind him of the attendance of the theater always in the hearts of his lovers even if there are attempts to absent him.The designer relied on simple pieces whose positions are changed according to the nature of the scene, or changed with other pieces and mitiga, during the movement, and not through darkness, which indicates the craftsmanship and intelligence that the designer dealt with with the show.
A painful question
The reviews are also designed by Atef Awad, one of the most famous reviewers of the reviews in Egypt, and he did not depend on it on a specialized group.He presented it with the actors themselves, who performed it with a high degree of professionalism, on the music that Ahmed Hamdi Raouf placed, and wrote its poems Tariq Ali, which are poems that affect the offer of the show and form an important part of his structure, and not just words accompanying the reviews only.
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Also available for the show is the designer of the lighting owner of the talent and experience (Amr Abdullah), whose mission was also difficult in light of the multiple scenes of the show and its acceleration, which requires flexibility and accurate calculations to contribute to the formation of the theatrical image.This is what he succeeded in, and gave a lot of joy to the show with the multiplicity of lighting projections and the shades of their colors that were employed to serve each scene according to its nature.
"The theater is monster" a theatrical celebration, but the smart vision, which its director Ashraf Zaki adopted, exceeded the idea of celebrating the idea of the painful question.The viewer presented by the show reviews part of the history of the Egyptian theater, and provides very ripe talents and has the ability to continue the march, but how can she communicate and the theater receives all these painful strikes?
