Theater : Sami Abdul Hamid: Iraqi theater: Western techniques of a local nature / Sumerian Ali

 
born “SAMAWA” August 1928 and an employee in the 
state. holds a bachelor’s degree in law and Diploma of the Institute of Fine Arts in Baghdad and the Diploma of the Royal Academy of Arts London drama theater and a Master of Science America Oregon State University, and a PhD Performing Arts University of Baghdad. 
Work Associate Dean of the Faculty of Fine Arts, University of Baghdad for a long time. He currently serves a veteran professor in the Department of Performing Arts in college and worked for four years as Head of the Department of Theatre cinema and theater / Ministry of Culture and Information.

Thousand and translated a number of books in their respective fields, including the art of cancellation, the entrance to the art of acting, the basic elements to bring out the play, the empty place, my experience in the theater. Ashraf messages and thesis for Master and PhD for more than thirty students. Of the most prominent his work in directing theater: Monkey thick hair, the Epic of Gilgamesh, a revolution Zinj, House of Bernarda Alba, Hamlet Arab, Othello in the kitchen, waiting for Godot, until further notice , bail, key, Khan, July knocks bell, remorse and ritual blood.

* You are in the heart of the first missions to the world of the West, “the United Kingdom” and others went to the United States, or Italy … Etc., and the impact of these missions constitute the term leadership in Iraq. What’s the most important features of the concept of this term in the theatrical field. I mean, how map called “names” leadership and how to identify trends play?

I understand “leadership” as the lead in establishing the foundations of the entity. Accordingly, it has been “Hakki Shibli” first because it is the first pioneer of the scientific development of the building blocks of theatrical art in Iraq and on hand to learn the first generation of playwrights Pioneer: Ibrahim Galal, Jaafar al-Saadi, Jassim bonded and Asad Abdul Razak Ibrahim al-Khatib et al. And at the hands of those second-generation learning: Yusuf al-Ani and Badri Hassoun Farid and Sami Abdel Hamid Khalil Shawki and colleagues … Then came the third generation of pioneers: Qassim Mohammed Mohsen al-Azzawi, Saadoun al-Obeidi, Mohsen Saadoun al-Jawad al-Asadi and arrows Mikhail, Salah reeds and Algerian Salim Fadel Khalil, Awni, chrome and many others. The missions in the countries of the West. East and west impact on the formulation of each generation techniques of those generations. Tracks and have varied orientations according to the curriculum that teaches its members under and according to ideologies that they were carrying or loaded them before joining the mission.
“Shibli” transfer him romantic features at their ends in France and came to be applied “Klaúchha” requested. Despite its benefits in the preparation of representatives, but the number of requested rebelled against them and found to apply specifically to the aspirations of creativity.
was “Ibrahim Jalal” in the introduction to the rebels and came after him, “Jassim slave” who took calls for the application of the “way ستانسلافسكي” in the preparation of actor and character-building dramas, after that he learned in taking Institute of Chicago students are encouraged to leave the internal action of the characters they represent, for the purpose of access to the outer expression.Deduced from “slave” claimed “Jalal” calling for the application of techniques theater “epic Albraichta of.” Did not come out members of the second generation of frameworks ex after they were pioneers in the application of the principle of “commitment to the theater Indigenous Issues” influenced the direction leftist ideology, especially when it joined the branch representation at the Institute of Fine Arts before joining the mission science outside of Iraq and the tracks themselves followed by the third generation, and after their return to the homeland varied orientations and their tactics differed Some of them was selective does not adhere to a specific style, and some of them committed to realism and others relied principle “Dramatizing” in directorial Maagathm. The reed himself Salah in the adoption of what he called “the theater’s” as himself Mohammad Qasim in reviving the Arab literary heritage and employed in the theatrical business.Everyone was quoting techniques western theater, but trying to
localize. an observer of the history of the Iraqi theater contemporary, I see that the Iraqi theater stationed in the text Shakespearean numbers and اخراجا and this strengthened the spirit of the numbers in the Iraqi theater and weakened the spirit of opus, meaning that Taciscm it contains a historic mistake. Or is it that “Shakespeare” was a focal point for the wider world of
theater! literary drama genus extremely difficult and complicated because the conditions of success when it was introduced on stage many related to its impact in the hearts of the audience and how to receive it and then enter into their hearts, or perhaps their minds. Ed drama needs to be nimble and to the imagination and to feel the reality, and to stand on the response of recipients and all that entails unique technology, systems may not need hair, General, to all those conditions in order to succeed in stirring poet hearers … Perhaps that’s the case for short story writing. And the difficulty and complexity in writing drama caused a scarcity in the number of successful writers in every era of history eras theater, Valbarzn the successful of promise on the fingers of the hand. It is mentioned only classical Aeschylus, Sophocles and Auribides and Arstopanis: and certainly there were many of those who March writing for the theater in the era of the ancient Greeks. It is neo-classical highlights not only Corneille and vertical Molière Romantikyin the Shakespeare was at the top of the short list. Perhaps Asttalt list then when you see the real and symbolic and expressive. And their derivatives until we get to the theater of the absurd that has not been only Beckett and UNESCO Adamaov and Genet and Arbal and Albi.
Yes, the concentration of the Iraqi theater in the text Shakespearean, as the concentration of theater in other countries on the text and the reasons for this concentration of specific capturing the humanitarian issues cosmic alive in every time and place “jealousy “example. The simplest technique in activating act drama. In drawing a clear circle of relationships between the characters. In raking engines conflict. Text Shakespearean holding stick the drama of the middle, there elaborates in the description does not seeded in the narrative does not resort to the mystery and illusion.
More importantly, this or that, to achieve Rhetoric linguistic Vklmath not pay act to progress, but also paint pictures can be represented reader Shakespearean – and foreign text translator Generally, where many texts are not available to book Iraqis artistic and intellectual level required their time. There is no historic mistake and there are other folks is the English preceded us exercise theatrical art as we knew. The book was theatrical Iraqis top are still beginners, lack of knowledge and experience, were not able to achieve the conditions mentioned above in the text they wrote, was the tendency by the direction of the text foreign intake directors numbers and اخراجا where they found it seized upon to achieve their ambition of technical and contributed to teaching in the institutes and art colleges in Shakespearean text weighting where adopted Altdricion in the training of students. We must redress, as the Iraqi tendency toward text taken gradually increasing depending on the progress of theatrical movement and breadth رقعتها. It must also rectify another is limited knowledge of the play among workers in the field of theater and the teachers, especially in the early stages of learning and education, where were not Mutalathm limited to the availability of their translations of the texts of the play and had most of the texts of
Shakespeare. were used in the play “Othello in the kitchen” Alami nature of the colors “black and white” stallion conflict signals replace the world of physical intensity “physical” Othello, race and the large lips: “Jago” greed and hypocrisy and partnership. Is this a shift from realism to modernism in your excretory
career? temptations text Shakespearean theater opened many doors for the interpretation and explanation update. And update the nature of obsession imposed by the variables in fact and in taste. This has prompted me concern, and pay someone else, to shift from traditional realism or modernism in the directorial vision where we found in a number of Shakespeare’s texts sufficient flexibility for the update. So did Salah However reeds “Hamlet” when placed in African tribal environment, with “King Lear” When you put it in an abstract environment. And already done such an approach with “Hamlet” When you put it in an environment tribal Arab and as I did with “Macbeth” when manipulated scenes play Fadvt them passages from other plays by authors of different nationalities and different eras pour all in the path you walked so ambitious bloody, while the reed downsample Shakespearean text itself and tried to shrouded atmosphere of mafia gangs.
directorial where we found in a number of Shakespeare’s texts sufficient flexibility for the update. So did Salah However reeds “Hamlet” when placed in African tribal environment, with “King Lear” When you put it in an abstract environment. And already done such an approach with “Hamlet” When you put it in an environment tribal Arab and as I did with “Macbeth” when manipulated scenes play Fadvt them passages from other plays by authors of different nationalities and different eras pour all in the path you walked so ambitious bloody, while the reed downsample text Shakespearean himself and tried to shrouded atmosphere of mafia gangs.
in “Othello in the kitchen” Ahltinay external references to the use of character Alami for Black and White and Oeksha references Interior in the text and then did not matter the physical Othello as my references nearby appearance and the essence of personalities main and an article Dr “owner logistical” which was published in the Journal of the Republic titled “Othello black and white” from those sources was the play “kitchen” of the playwright Englishman “Arnold Desker” located events in the kitchen of a large restaurant in central London and spins where conflict between the cooks of different nationalities reference II. The reference third was watch collection of طباخي restaurant good coming out from the inside to the hotel gardens their clothes official white and you Salah reeds sit close to the swimming pool imagine scenes of the play lies in that environment and also assumed by reeds and could not be achieved later.
in curfew of realism to modernity came Mqhrba to the number of texts other foreign and domestic. In the text of the literary “to Lutfi al-Dulaimi,” titled “nights Sumerian” I tried to put the Epic of Gilgamesh in the framework Haddathwai when he assumed the occurrence of events today and in the Middle Euphrates region and women “gods” are not only citizens of peasants on the one hand, represent symbols of the nature of the other hand and in play poet Spaniard ” Lorca “” grows Rnarda of automatically “assumed that house a large cage for birds – plant – which is at the same time in prison. Out of modernity handled play George Shehadeh the “immigrant Brician” and play Dorenmat “visit.”

I interviewed “Theater’s” association which represented!
your calendar for this theater experience in Iraq?
note that there are many who believed he was part of the chaos technical
operations. lacks the term “theater” to res, if is absent from the theater missed the theater. From this point I’m going to this theater experience in Iraq.
theater composite of three parts each director puts all elements in the service of another compound is composed of drama concentration of elements in the dramatic action and development. The three parts are the audio text and words, actor and pronunciation of words and silence, connotations and sound effects and music and Msandadtha.The visible part – and Personal Representative and theorist lighting and Almlhat. Moving part – actor and decorative light. Except ballet, mime and dance, the performing arts Other,

Including theatrical, contains three parts. Directors has proceeded since ancient times and even today to create a balance, including for the purpose of assigning elements of drama and clarification and confirmation. At each stage of the history of theater in this country or that of giving more importance to this part without the other part without canceling. I would say that the English “Edward Gordon Craig” is the first to give the club the first importance for the visual part where he pointed out that the audio part can be reached by reading the text either the visible part of the kinetic part can not be captured only by watching. Valmtfarag come to the theater to see successive images, moving images. Part audio art of Zamani and the visible part of the art of where I am either moving part combines technocracy. And I can also say that the Italian “Franco Zvrelli”, a film director and opera and drama, the first ranked Antajath as lavish in the photos, which was introduced to the charge that he drown those productions detail visual also won praise for the same reason, knowing that this director is often designed decorations plays well to remove them. I have here to offer a description of one of the plays Shakespearean that I’ve made ​​the band “Oldwik” English is “Romeo and Juliet” has committed to accurate historical views of the city of Verona, Italy in terms of architectural form and uniforms characters of the play in terms of the model, and did not do in order to update only alleviate rhythmic intensity to shed hair and rounded than normal speech and replace Tarazah movement in nature. Has promised to approach such a model of models of modernity in the twentieth century.
participated in the representation of the role of the president in the three productions Salah reeds under the banner of “Theater’s” It “King Lear” and “Uncle Vanya” and “three sisters” and I saw a number of other Antajath into Observer dramatic and found that Reed could not dispense to replace darkness is replaced, but found that he gave the word is more important than the importance of the image as it did with a scene soliloquy Macbeth dagger الموهوم. And discovered that cane runs on the atmosphere more than اشتغاله on the meanings and connotations and therefore rarely resort to the analysis of the text and explore the dimensions of the characters and therefore also see dispense easily on the number of characters that assumed by the author: In the “three sisters” to ميكوف not used only represented by one. Comes mentioned her two sisters on the lips of the other characters. He also discovered that the direction in which marched cane is a surreal stream where nightmarish images, exaggeration and multiple foci and distortion and اللامألوف. Style has impressed a number of youth theater in Iraq, so they start يتخبطون may make mistakes sometimes injuring. And drove like it fly to Alastshal than one hand, and to distort the creativity of others. Some claimed dare claim the death of the author and the abolition of the role of the word in the theater. The proven fact theater is not in Iraq, according but all over the world that the word survivor, but is a pillar theater basic, especially when the paint is very different images is true that the effect is stronger, but Ellis use and ways to express the best of Astkhaddalm one way?
* the map of the Iraqi theater would Like maps designed remote “and not self-ups from the play” has circulated سلطتان: ideological guidance and authority directing trade authority. How do you see the reality of the theater through Ford democratic now
..? in the countries where they dominate the totalitarian theater came under pressure from authorities – Routing ideological and commercial orientation. On the one hand you do not want the ruling authority that derail the theater and you see pushing for the development of this art and other arts in the service or in the service of promoting the ideas and beliefs. Responds to some playwrights or may receive for those pressure Faostagibon when they find or closer correspondence between their thoughts and ideas of power and give up when they find that there is no room for movement, but in the range Decree them. In the case of surrender rarely dramatists can produce creative work Creativity stems not only from within the artist nor the opportunity from abroad. Dramatists may find an opportunity for زوغان or to avoid the imposition of the ruling power to achieve their intellectual artistic ambitions. Here we mention playwrights lesson during the Bolshevik revolution since responded to most of them to the trends of the Communist Party of Revolutionary times and found them an outlet for their aspirations towards renewal, but when I turned those trends to pressure and to identify spammers creative rejected or تحايلوا it and here we mention director “Veznolg Merhold” and trying to adapt the theatrical art of the requirements of the society new socialist likening theater work and actors in it like workers in Tnzirath for “Albayumkaneka” was based on the theory “Altaalria” at work, the economy and the Party tried applied in the Soviet Union, and after a while abandoned and met الصدود of leadership more than it was dimensional and others were the likes of Tairov and Nachtankow did not keep the realism of socialism.
On the other hand I found the power to go commercial doors wide open to consolidate its influence in terms responded to an audience of public offerings and found the only area to kill leisure and entertainment outside the times of sitting in front of the TV screen and where he found encouragement from the ruling power because it is a way to distract people and keep them away from thinking their problems. When the patch increased the kind of theater which was taken from the entertainment and a means and a goal, taking the artistic and intellectual level of the performances بالتدني gradually until it reached the bottom. And shape of the owners of the theater trade bearish front defend strongly legitimacy and sovereign right and deduced from advocates to stop the wave of Western Iraqi theater.
Today, in the midst of the turmoil that is going through the country and within the Misconception of democracy and labor difficult it is difficult to know the reality of the theater and its future is still the path of darkness and will not lit lights . But when it is stability and security prevail. And certainly will not take the theater trade status that had taken previously and certainly will bloom new shoots.
* How do you see the role of the academic in our play: Lahu isolated island: produce presentations related to the calendar university, or is there in the hope that opens the wall academic fourth
people! certainly academic role became an isolated island where very few of the graduates of communicating with the theatrical movement and the majority of entrants have entered in order to obtain the certificate is nothing but.
rarely find one of theatrical art lover among the large number of students admitted. The dearth of young lovers who “gifted serious” impact on the academic theater production quantity and quality compared to what was the case in the two phases of the sixties and seventies. Altdricion of them no longer have sufficient enthusiasm for production as they were before, where they found work outside the academic sphere welcome to return to moral and material I do not think that there is hope to open the fourth wall academic people in the near future. Maybe after that disappear pathogens recidivism.
* The concept of experimentation in theater to reach parts no تطأها feet playwright.
, but notes that he was our closer to “play” Profile him to creativity
collective? misunderstood “experimental theater” فاختلط الحابل بالنابل and spread random freaks Personal and kept both HP and bear experimentation and claims against tradition and it became that longer Altejrebb is al-Qaeda and the tradition is the exception and not the other way around. Experimental theater requires a “curriculum” approach requires a hypothesis, procedures and objectives followed by the exit of the results is mainly related to the relationship between actor and spectator, depending on the search for the secrets of receiving.

* حزت in the seventies a master’s degree in drama from America and after a quarter of a century progressed to obtain a doctorate in science theater of the Academy of Fine Arts in Baghdad, which were not need it originally, but it seems
strange?! while accepted envoy to study the representation of “the Royal Academy arts drama “in London, I did not think to get a graduate degree as far as my thinking in educational attainment and as far as thinking بالتفاخر I studied art at the Institute of famous outside the country and already has a certificate obtained from the Academy were not qualify me to rank scientific but was Tahlna for professional profession. It was not in my mind that day to be the last members of the faculty of the college, but he became an actor and director famous. When I joined with a number of like me working in the field of art, within the teaching staff at the Academy of Fine Arts, the day gave us titles private art and when merged in an atmosphere of university education and scientific research have found that getting Qualification is essential, but the duty, and so I worked on getting a master’s degree from the University of Oregon in the United States, where hit two birds with one stone, the first collection of information provided by the search to obtain a doctoral degree and the second Neil graduate certificate. I say frankly that my goal of getting a doctorate was obtained at a higher financial returns and I am still at the view that workers in the fields of art do not need to Career as much as they need to develop their offspring creative. Vmmthelh capable such as “Shaza Salem,” do not add to its technical Ph.D. something and I “Sami Abdul Hamid” actor and director do not add a doctorate number to my account technical but it seems that we still feel a knot shortage of belonging to the center of artistic and can not get rid of that node, but access Supreme certificate and can thus change the perception of the backward toward our artwork! site plank