Life is a drama, and drama is a drama within this drama, and most of it talks about this drama that emerges from it, and the process of acting is the enemy of this drama. The more we are honest in presenting this drama, and the more we are spontaneous, the more we seem real, and the exact opposite is true. When you look like you are acting, you will be closer to failure, and farther away from the audience’s love. Even a clown must clown with sincerity and spontaneity that makes him appear real. Our example is Charlie Chaplin, who used clown tools in all his roles that people know, and the audience interacted with the humanitarian issues that he raised and sympathized with them. .
We all know that what is presented on the screen are nothing but events that have no basis, so we think, but why do we follow them if we believe that? We follow it because we are in fact the heroes of this drama: its author, director, actor, and the rest of its makers speak in our name, act for us, and represent us at the same time, and when we follow them we are watching ourselves, or details from it.
This collection presents a group of stories that attempt to approach the worlds of drama in one way or another, in writing and acting.
“Adham” was born multiple times, which is difficult to count. And in each of his births, he carries a different personality and another life, to the point where he can be described as multiple versions of a single human being, or to borrow what he says about himself: “I am all formulations. Open endings and closed beginnings. I am the ultimate formula. I am everyone, women and men, a part.” A masculine part in a feminine personality, and a feminine part in a masculine personality. I am the one who desires immortality.
In this novel, Maha Hassan reaches the height of experimentation in writing, ignoring the rules, surrendering herself to the pleasure of storytelling, to the philosophy and philosophies of her hero, trying to write his biography in his endless births.
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