Are you filming a play that you can see with the camera? By the Syrian playwright Muhammad Al-Attar, the story of a director filming a film in which she records the testimonies and experiences of young people detained in prisons months after the outbreak of the Syrian revolution, and she suffers a conflict between her convictions and her belonging to a family close to the regime.
Qaddour’s text takes inspiration from the idea of confession from the text “Death and the Virgin” by the Chilean writer Ariel Dorfman. Without that, the text begins to build its purely Syrian story, which revolves around an old relationship that comes back to life between an officer who was expelled by the ruling regime in peacetime and brought back in war, and “Jalal,” who was tortured in one of the days of peace. Syrian security detention centers, and among a former detainee who was tortured under the hands of the former. The two meet when their destinies intertwine through Jalal's nephew, the theater director concerned with directing the play "Death and the Virgin" in which Akram plays the role of the tortured, while the character of the tortured girl is played by "Haya, Soha Nader", Omar's lover. In the orbit of these relationships, Radwan, Hamza Hamada, the officer’s bodyguard, gets lost without knowing the horrors he will face after leaving the officer’s service to participate in the massacre of the twenty-first century.
During his sermon, the president of the country violates the instructions of those around him among the regime’s seniors, which stipulate that he should not do anything or say anything other than what they had planned for him. As a result, they begin work to complete his mission and place a new look-alike in his place from among the twelve look-alikes who train them on everything related to him. The real president, but there are those who are planning a coup against this situation, so what will be his fate?
In this highly contemporary and current work, the German writer recasts history to apply to many countries now, brilliantly depicting how during periods of tyranny many people turn into malleable tools, into machines and puppets. “Disobedience is a disease that leads to death in our country, a disease that is disappearing.”
I do not know if what I am going to narrate has happened before, or if it is happening today, this hour, now, this moment. Or will it happen later, tomorrow or the next day, very soon or very far away? But, I know, it always happens. where? In the world, here, there and everywhere, but what matters to me is that it is happening here in this place, my country, and in the city that I could not leave, for countless reasons. The city that, I repeat, I cannot die away from, nor can I live away from it. with whom? With me, it is the first answer, because it is known about me that I only write about myself, or something that happened with another person I know well, or perhaps with a person I know briefly, or with a person I created from a mixture of people, or a person I made up completely. However, as a technical solution to this dilemma, I see that this time, it happened to you specifically, you who are now reading what I write and suspect that it is about you, then little by little you will know that it is about you. Because literally, or almost literally, it happened to you, and it applies to you only.
The two brothers, Helmy and Diaa, work in a car repair shop, while their mother works as a dancer in a nightclub.
Every day, when she goes out to work, one of the brothers disguises herself in her clothes to imitate her, and exercises the same dominance over the other with which she treats them.
In a theatrical text based on the play “The Maids” by the French writer Jean Genet, and taking place in the poor post-war neighborhoods of Damascus, Zain Saleh raises the questions that an entire generation suffers from about power, family, asylum, and gender.
The events of the play in our hands take place in the sixties of the last century in London, during a period of great social changes. The theme of the play is the cultural and civilizational poverty and great frustration experienced by an entire generation of young people living on social aid.
In “Rescued,” Bond appears to enjoy exhausting our senses by torturing an infant - in a public park - whose mother had left him with his father. What is most horrific is that the alleged father joins his companions in practicing this violence against the infant, to the point of death, without a clear reason. But the critics who defended Bond - and they are few - realized that when he presents a scene like this, he presents it to condemn that political, social, moral and economic vacuum through what T. s. Eliot calls art the “objective equivalent.”
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