The writer Muhammad al -Suri in an interview with “Rosalousice:” In the time of “Tek Tok” and the fast -laughing joke lost his identity!

Between & laquo; A continuous creative line in which the talent and skill of the young writer Muhammad al -Suri, who predicts a project for a great author who is good at expressing his concerns at times in a dark theatrical drama closer to navigation and tampering .. And at other times the ridicule and laughter..and between the two extremes carrying insightful eyes and visions .. about the comedy and his concerns and theatrical works said the Syrian said in this dialogue ..

■ Dreaming professionally writing? Before the university, I presented a high school treatment, a pace for the story & laquo; Antara & RAKUO; We were studying it in the secondary school, by the writer Farid Abu Hadid, and he mentioned references to the novel, but we stopped at a scene of Antara in the desert while he was alone, then he disappeared in it and no one had at the time. Then I entered the university and at that time I linked the authorship to music. I remember that the music composition doctor was giving us keys for authorship of a musical piece, and there are references to the authors of the romantic era whom we love, each of whom used to put a story on which the melody and tones were built with meanings; I loved this style and became following this approach; I became concerned with the meaning while writing. It was published in a non -translated newspaper. The story revolves around a thief watching a house and wanted to steal it. After long adventures, he opened the door of the house. I completed the story from its end because I wanted to talk about love and betrayal; And I was concerned with the idea of ​​linking love with the availability of money or not; Because the exam was its subject, is there a relationship between betrayal and great richness .. The answer was yes that this layer is subject to betrayal of other lower classes in society; This is what I dealt with in the play that the man and the thief and the thief were more attached to their love than the wealthy home owners; I wrote the piece and ended with the dynamic expression at the time, I felt that it could come out of it an idea of ​​a play, and indeed one of my friends presented it during the university and today I presented the Soxe project. I wrote there are works that did not go out to the light.

■ Why is comedy difficult or unable in your opinion? A comedy show in which I put a lot of implicit meanings, but people come out of the show, busy with laughter without realizing other meanings inside it; Thus, I feel that the delivery of the meaning may be clearer if I present a tragic act because I am annoyed if my message does not reach as I wanted; Besides, reading comedy works by the directors takes another direction because he tries to overlook the drama in order to increase the flaws; I understand this style, but I think people will laugh more if they care about drama; Therefore, I tend to have a dark form of writing. Because the intellectuals see that they are not correct to laugh there a template for the intellectual that puts himself in it; For example, some may be ashamed to say that he loved the movie & rdquo; Even if it is a good movie; Also, the makers want to provide things free of depth or thought more dependent on jokes just to win more masses and laughter; This gives the impression of comedy that it is easier, trivial and empty of meaning; Because the product is afraid of risk; The great writer Lenin Al-Ramly wrote laughing plays from just reading on paper and his works carried a lot of thought, depth and philosophy. Any writer sitting for writing is very interested in the rhythm; And every writer writes, imagining that writing is closed to him; When I read Lenin Ramli’s texts, it is already a court and if I take it out, I will present it as it will not add anything; But it is possible to create a new rhythm with the picture by switching the places of the camel or dispensing with a sentence or word that creates a faster or slower rhythm; I feel that these two equations need to control; Consequently, I cannot judge a text from my stagnation when it is transferred in any mediator, whether theater, cinema, or television, because the image rhythm will differ; Unless you are the ground of a specific image on the text itself; This is in my opinion that dies the text; It is difficult to stone the director’s imagination; Because additions and modifications can occur according to the image rhythm; Therefore, it is important to attend during rehearsals because we are negotiating many details and changes on paper may occur during work; In & LDQUO; the perfect plan & rdquo; The character of the Delaviri worker was added to prolong the time of the play while it is presented in the Soxier project; I change or add in a way that does not harm the essence of writing and the meaning I wanted; There are directors who tamper with the text from a lack of awareness that takes the text and changes the vision completely and thus the topic comes out distorted.

■ Will the text differ if you take it out yourself? In the comedy show from the beginning and during writing, it is usually formed in a fantasy for the way it will be presented, especially when I define the type of comedy that I walk on in writing and according to the curriculum that I follow spinning laughter; Consequently, there is no space to add an inappropriate Ava.

■ Is improvisation annoying to the author? The comedian always wants to laugh at the stage in the last show with Ashraf Abdel-Baqi and Totta and the mind of this is the type of comedy that the audience loves for them and therefore writing comes in compliance with what they offer from comedy.

■ Is this the first experience at the level of professionalism? There are two paths, either to close myself and write and then go to them with the text and this is a wrong way because in the end they want to participate in putting information; Or we sit together and agree on the type and shape and reach a compromise; Because I must write a suitable comedy for the star who plays it; Ashraf Abdel-Baqi informed me of the story and then we started to put their dramatic questions and then write the comedy by playing the areas of laughter at each star of them to work.

■ In your opinion, did the form of laughter change? Unable to answer the question of who you are?! .. because it is a very confusing question; Laughter is in & LDQUO; Fast meaningless .. In a time ago, laughter had fun when he changed, there was no identity to laugh. But it is not reasonable for me to laugh at me, and therefore I do not know, and therefore that provides comedy must come with a topic that I know a lot about and seek a tangible topic; Until I laugh and think about this, the artist performs his duty; Currently, what touches people, laughter turns into a joke and people who offer strange things and do strange deeds on & ldquo; Tikkok & rdquo; It is supposed to be laughing! This is what drives me to write works about the identity that affected religion, morals and everything; Even the dark offers were the key to the word & ldquo; identity & rdquo; In a period of time, the artist was attached to society, Naguib Mahfouz, who saw those who wrote about them, each of them had this identity that we talked about knowing who he is? .. Where did he come from? .. What does he want? Also, the terrible development of capitalism throughout history made a person a consumer tool and therefore everyone who enters this circle is difficult to be an artist or producer of anything; Because it has become a specific part of the machine, anything that is done by a capitalist system that imposes control over the mind, so we have been living without real perception of everything around us!

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