Politics Fiction Painting Poetry Press Critics T.Nazmi Elza

Heterotopia

Inside each human being there exists an eagerness to perceive the eternity, yet he shall not perceive what Lord has done from the first day up to now.”

   From Solomon’s “Society”

3:13

1 - STORY :

Contemporary human being accepts chaos and welcome it. The reason may be this fact that even in the most primitive societies of our time, man’s life is full of sound and fury. We are in Heterotopia ; a situation which has caused by madding information showers by media and by the restless creation of different social movements. In this situation , which is growing faster and faster and getting  worse each day ,the traditional truths have gone  with the wind and new desires have been found to reach a salvation. Desires which are based on : “frequency”,”quantity’, and “ lack of the element of reality “. This is the most important experience of the post modern world and as David Lion once said : “ It is the chance of  finding  a new way to be the end of human being”.

2- FORM :

The most remarkable picture of a post modern man, is a man who is surfing the television channels with a remote control in his hands,aimlessly,while he is reading different articles of event columns of newspapers.

Perception of today’s man towards the world is made through putting all these shattered information together and this means collage a phenomenon that in the latest artistic genres like video art , video clips and photo collage is known as an structural element. “There’s nobody to remember all the stories” is a collage   made by different slices of different people’s lives. People whose situation are more important to be dealt with than their personalities.

3-  A SCENE:

      20 out of 20.

      A teacher is giving dictation to the pupils.

      Teacher : execution of the young woman who murdered her husband by stabbing him several times , took place. In her confession she said : “ We  had arguments over a few things since couple months ago. He accused me continuously and threatened me that he’s kill me. On the day in question I got mad to hear him saying those things again so I …

      4- ADVISE :

     “There’s nobody to remember all the stories” is a play that should be seen just once.

Critic B

“There is nobody to remember all the stories” has a warning beginning. The situation which is set by reporting an arson in “Malek” street is an entrance to a story which apparently is a documentary, yet during the next 13 tableaus of the play, different tales of different people are glued together; that in spite of having surface differences like sex, point of view and different situations, they have something in common such as the way of looking at life, their point of view towards themselves and other people. Each one talks about a truth like failure, lack of trust and honesty, in a way. In the first scene, a man who had a car accident, in the second, a man who is ironically compared with a bear. In the third another man burns the house. In the fourth, mother and son, in the fifth the absent husband.

In most of the scenes women are corrupted, a corruption which has been imposed on them. Husbands have run away, are in sulk or last touch.

Men too – like women – are in a constraint that is forced to them by the environment. Whether they are disappointed and hopeless, or they are in a nostalgia, or they are destroying or being destroyed.

Creating each scene is done by using the minimum elements that are needed for a scene to be created , and careful choice and emphasis on the details of dialogues and personages that seem unnecessary at first , turn to be one of the most special aspects of the script and the most important thing which helps us know the characters and exposes them in a fantasy way . For example the worker in the first scene of the hostage in the ninth scene.

Also  most characters reveal another aspect of themselves when facing the second person: like the monologue of mother in the sixth scene or in the eleventh and in the phone call , that  of course the special and careful choice of words in this part makes some fantastic moments. Moments during which, they reveal nothing, yet smooth, flowing and shocking they are, like the two women on the phone.      

Although scenes and acts are not following a special arrangement (and this is absolutely intentional), points that men have in common, men who are the sample of “urban men”, and are in crisis, leads us to the first disaster of the street being on fire, and in the script this tragedy can be touched almost every where and in all characters. The disaster that is ignored by every one, and like the arson’s file will be filed in the minds.

        Reporting end of the story is shocking and sad. This will remain and echo in mind that:

“Every one is ignoring the arson ‘

But in performance, presence of the fire fighters and playing with the lights that they shoot around, the darkness can signify by the searching for the truth. Although to the audience this wild movement of lights may be bothering, it counts them as the means through which truth may be found. In addition to this, lighting consists of creative and practical aspects and in creating the situation is so helpful. For example in the eight scene, movement of the musician from one place to another, accompanied floating lights, projecting and dancing with him, creates a charming situation.     

Director’s use of almost all different parts of the stage and dark & light contrast which rolls the scene can be known as another special aspect of directing , which makes the play – in spite of many acts & scenes-far from being boring . Also matching music, chosen for each act and scene, helps the play being alive.

        Darkness has a special meaning in play’s language ; lack of knowledge , perception and ignoring the situation and being trapped in corrupted place are among the significances revealed through the play and one of the most dramatic uses of darkness is in 11th scene , when two women are talking on the phone that signifies their corruption and dark life.

       Besides these special facts some scenes which are naked , short , simple and realistic are in contrast with other scenes , like “ a song in the rain” or the woman who is speaking  French , have a different form & identity which caused ambiguity with other scenes .    

In the acting as well, creating and perception of the situation is relatively successful, yet some rhetorical weak points in some of the actors-who sometimes couldn’t be heard by the audience – damaged the quality of performance. Like man and the lunatic woman.

       Anyway, what is noticeable in the play “there is nobody to remember all the stories” is the flowing performance, which authorizers its signs and contents. In most scenes it is far from too much dialogue and reaches to the harmony with the script.

Critic C

Mohammad Charmshir is a valuable writer, a master too. Unfortunately these days it is heard that quantity of his works has the negative influence on the quantity of them , and  of course this is not a noble saying and logically it is not fair either . Is it possible for a person to write this much and gain nothing through them all? I hope you ( readers) don’t think I’m flattering, yet I severely believe that some friends are not fair in their critical views about Mohammad Charmshir . Even if our only proof is that he gains a little through each piece of work , we shouldn’t criticize , yet praise him.

2*

          When noticing that the play “ There is nobody to remember all the stories “ is performed with some other works of Farhad Mohandespour and is known as an Iran Theater Workshop’s production , then we can find its glory. Right then this rebellious collage turns to have a story matching string that shows the play’s mighty structure and if you see carefully , you’ll find that every element is serving to fulfill the author’s ideal structure. If we look for traces of past modernism in the work , we’ll find a lot. Lack of reason and decentralization, that during the script & performance , audience is asked to focus on lots of them . Even the choice of mane is so smart. The same can be seen in Carmshir’s “Caligula poet of the cruelty “ that is  performed by Attila Pessyani at the same time.

3*

         The writer of this essay wishes to thank Mohammad Charmshir for his none

Critic D

POETIC SCRIPT AND PERFORMANCE

      “There is nobody to remember all the stories” written by Mohammad Charmshir is a play that due to it’s technical special aspects looks a bit strange and different . Dialogues & monologues of this play are mighty ones that in spite of unreal and strange situation make them real to the audience. Different shattered tales take place in different settings , and there is no logic – whether storical or dramatical – connection among scenes & acts. Each tale is a story of a situation that we have experienced it somewhere or may be read about it, yet putting all these experiences together moves toward script defamiliarization and destroys all real settings. Flowing of all these incidents in the play’s atmosphere , with no possible

beginning or ending for any of them , reminds us different stanzas or lines that make a poem , and this feeling gets to strong that you start thinking that the play is based on poetical logic , not a dramatical one.          

What grow this theory are the subjects chosen to be narrated. This poetical influence can easily be noticed in both subject and characters languages that makes us emphasize on this poetical theory . Writing this play , Charmshir – intentionally – has chosen many devices & genres. The basic narration during the play , sub narrations for play’s fluency , very short and longer narrations , violence in stories  and romantic social narration , and even satire , all & all together make something that avoids unity and moves toward smaller pieces that finally makes a picture in mind that is quite different from the things we’ve experiences in our lives , and then passes

It should be mentioned that Reza Haddad’s directing seems to be very important! It can be said that script has been understood and performed just fine. Changes in settings and characters , and preventing from focusing on a specific point on the stage helped the play to be performed successfully.

          Just like the script , performance is in the different short and long pieces. Careful use of the stage helped the audience know that play consists of different sub narrations and on the other hand attract them a lot . Also lighting is so helpful in creating an illusional setting. An illusion which accompanied by dull and dark effects which does not fit into a basic form and format , and for gaining this effect the lighting was so useful. Besides the acting of professional actors help the meaning of sub narration to be understood properly.         

Generally we can say that  there exists a strong unity between the script and the performance , and the play is completely performed in the way it has been written and this unity is the one thing that can not be found in festival plays. So we should consider this play as the mighty plays of this year.

“ There Is Nobody To Remember  All The  Stories” was chosen by Kampnagel and performed in Laokoon International Theater Festival in Hamburg / Germany in September 2003.

امرأة 

سنديانة للمسرح 

تونس 

انعكاس شخصية شجرة الدرّ التاريخية على وضع المرأة العربية الراهن ومنزلتها في المجتمع، ومدى تمتعها بحريتها وحقوقها الطبيعية، يؤكد على فكرة عزمها الراسخ على التقدم وفتح الآفاق، بلا نهاية، لتكون على مستوى انسانيتها.

النص

د. عز الدين المدني

تمثيل

زهيرة بن عمار

ايمان مبروك

أمينة بن الشيخة

سينوغرافيا

قيس رستم

انارة

مولدي قروري 

دراماتورجيا واخراج

زهيرة بن عمار

بدعم من وزارة الثقافة والمحافظة على التراث   

“A woman”

Sendiana Theater

Tunisia

The reflection of the great historical character of “Shajarat Al-dur” on the current situation of the Arabian woman that shows her reassuring belief for moving ahead to open new horizons and be on the level of her humanity.

Script

Dr. Ezzeddine Madani

Actresses

Zahira Ben Ammar

Eman Mabrouk

Amena Ben Al-sheikha

Scenography

Qays Rustom

Lighting

Mawledi Ar’aar

Dramaturge & Direction

Zahira Ben Ammar

----------------------------- 

حكاية علاء الدين

عرض مسرحي ليس للصغار

فرقة كون المسرحية

سوريا

الحكاية:

تحكي مسرحية «علاء الدين مسرحية ليست للصغار» عن رحلة علاء الدين لإنقاذ الأميرة ياسمين. فبعد أن منع والد ياسمين شهبندر التجار العرسان عن ياسمين لفترة طويلة جاء مارد الزواج وخطفها

لا يتصدى لمهمة إنقاذ ياسمين أي رجل سوى لص وصديقه، وليس اللص إلاّ علاء الدين، الذي يسرق ليعيش.. فتبدأ رحلة لإنقاذ ياسمين  في أربعة مراحل تروى على لسان عراف.

المرحلة الأولى يتخللها صراع مع قطاع الطرق ومعركة للوصول إلى المرحلة التي تليها.

المرحلة الثانية صراع مع تنين وأخذ بذرة من بين عينيه كي يكتب لهما متابعة الرحلة

المرحلة الثالثة صراع مع الذات والنوايا داخل الفرد، من خلال شجرة الحياة والموت التي تقتل من يأكل من ثمرها إن كانت نواياه سيئة

المرحلة الرابعة على من يصل إلى القصر الذي سجنت فيه ياسمين، أن يقبل على الباب جارية، قبيحة من فمها

يصل  علاء الدين إلى نهاية الحكاية، فيدرك أنه في حكاية فيوقف الحكاية،

 ويهرب تاركاً الحكاية دون نهاية

ينطلق التجريب في مسرحية علاء الدين من مستويين

المستوى الأول هو النص، فالنص يقوم على استخدام بطل معروف ومشهور في تراث القص العربي «علاء الدين» والاشتغال عليه من وجهة نظر جديدة نوعاً ما، وقراءته بشكل جديد، ليس الهدف منة خلالها قتل أو تخريب صورة البطل بقدر ما هو إعادة اكتشاف لحقيقة البطل في يومنا هذا، وإعادة قراءة للبطل في التاريخ، وفصل الحقائق

ومن هنا ابتعدنا في كتابة النص عن القصة التقليدية وذهبنا في بحثنا عن حكاية مغايرة لحكاية «علاء الدين» الموجودة في الكتب،  فاعتمدنا على شخصية علاء الدين التي تقصها الجدات اللواتي لم يسمعن الحكاية من الكتب أو من مصدرها الأساسي، فكانت حكاية مفككة، مبعثرة، بلغة الحياة اليومية تحمل في طياتها وزناً وقافية مبسطة. فعملنا على توضيب هذه الحكاية وإعادة كتابتها للمسرح.. مع المحافظة على اللغة العامية ((السورية)) للنص.

من هنا اعتمدنا على الكثير من الآليات والتقنيات في كتابة النص، منها  التعدد في مستويات السرد، التلاعب بالراوي، الذي يظهر في بعض المراحل على أنه كلي المعرفة، ويظهر في مفاصل أخرى على أنه غائب تماماً عن حقائق الأحداث، وقمنا باختلاق شخصية داعمة لهذه الشخصية وهي صديق علاء الدين..  والذي يلعب دور بطل من نوع آخر، ولا يتماهى مع دور البطولة حتى النهاية، فيمارس دوره كإنسان يخطئ في جميع مراحل سير النص. 

يستمر التفكير وقراءة البطل في هذه الحكاية حتى آخر مفصل منها، حيث يوقف علاء الدين الحكاية عندما يعلم أنه يلعب دوراً، وأن كل ما خاضه في سبيل هذه الحكاية لا يتعدى مجرد وهم.. وقصة فيوقف الحكاية..

المستوى الثاني هو العرض:

فيقوم التجريب في العرض على الكثير من النواحي

-       المسرح الموقعي ومسرح الشارع والبناء الكلاسيكي:

قامت فرقة كون في الكثير من أعمالها، بالاشتغال على المسرح الموقعي أو مسرح الشارع، للخروج من المبنى الكلاسيكي للمسرح، فقدمت مجموعة من العروض في أماكن مختلفة ((كنيسة- شارع- اسطوح بناء.. إلخ) )، ومن ثم بدأت الفرقة بنقل هذه العروض من مسرح الشارع والمسرح الموقعي إلى خشبات المسرح الأكثر كلاسيكية..

فبدأنا باختبار التقنايات والآليات التي تدربنا عليها في المسرح الموقعي لإعادتها وتوظيفها في المسرح، من هذه التقنيات، آلية التعاطي مع الجمهور، وكيفية توجه الممثل تجاه هذا الجمهور.. اختبار الفروقات الحقيقية في كل نوع على حدة، وما هي حدود الممثل في كل  نوع من أنواع المسرح التقليدي أو الموقعي..  

- الممثل والمختبر المسرحي وقد فرضت هذه التجارب على الممثل أن يدخل في مختبر مسرحي من نوع مختلف، ويوظف طاقاته في أكثر من مجال فعملنا على تطوير آليات وتقنيات الممثل، من الغناء، والعزف، والأكروبات، وفنون الرقص، وبالرغم من أن هذه التقنيات يجب أن تتوافر لدى العديد من الممثلين إلاّ أن تطويرها والاستفادة منها للحدود الأقصى كانت هدفاً في مختبرنا المسرحي..

كما ينطلق التجريب في العرض من خلال الانفتاح على بقية الفنون.. فتم تفعيل دور عدد من العازفين داخل الفرقة، تقوم بعزف موسيقى حية داخل العرض، وتتفاعل مع الأحداث، وتعلق عليها، وتلعب أكثر من دور في قراءة العرض، فتارة تكون شريكاً أساسياً داخل العرض، وتارة أخرى تقوم بدور المراقب والمتابع، وحيناً آخر تقوم بلعب دور الراوي،  دون أن نقع في مطب الدخول في عرض مموسق بالكامل، بل حاولنا أن نؤسس لعرض يقوم على الكلمة والموسيقى، دون أن يؤثر طرف منهما على الآخر.

 Politics Fiction Painting Poetry Press Critics T.Nazmi Elza