"Dibba Al Hisn Duo Theater" It continues the activities of its ninth session

Dibba Al-Hisn, May 24 / WAM / The activities of the ninth session of the Dibba Al-Hisn Duo Theater Festival continued yesterday at the Cultural Center of the City of Dibba Al-Hisn, in the presence of Ahmed Bourahima, Director of Theater Administration at the Department of Culture, Director of the Festival.

The audience on the third day witnessed the Tunisian theatrical performance “Two Voices Under the Skin”, by the “Mirwar Theater Works” troupe, written by Noureddine Hammami, directed by Soraya Bouganmi, and starring Nadia Ben Obaid and Hazem Bouhlali.

The performance – mixing kinetic performance and poetic word – depicts a confrontation between a man and a woman, arguing about the meaning of existence, hope, loss, and the possibility of living in an unbearable world.

Although the work does not specify the nature of the relationship between the two characters, they appear as two sides of one person. However, the show showed the woman as more willing and able to resist the causes of brokenness, while the man embodied the condition of a human being who has lost the passion to continue moving forward.

In the critical symposium that followed the show, moderated by Tunisian artist Marwan Al-Salaawi, participants praised the high energy of the actors and their performance vitality, noting that the work – which was not based on a written story – succeeded in putting the recipient into an emotional, interactive state.

At the conclusion of the symposium, Wissal Al-Dhahouri, representative of the Department of Economic Services (the sponsor of the third day), honored the Tunisian band.

The activities of the third day began at five in the evening with the second and final session of the 21st Sharjah Arab Theater Forum, which came under the slogan “Theater and Education,” moderated by Emirati artist Abdullah Masoud.

Dr. Bilal Al-Dhiabat (Jordan) presented a paper entitled “Arab Educational Theater in Light of Contemporary Changes,” in which he reviewed the challenges of educational theater, stressing the need to develop curricula, increase specialists, and include theater at the heart of educational plans.

He praised the Emirati experience, especially in Sharjah, and the role of the Arab Theater Authority as a pioneering model.

He recommended the necessity of framing educational theater within clear educational policies that achieve a balance between educational function and aesthetic value.

In his paper entitled “Spectacle and Education: The Aesthetic as an Expression of the Cognitive and the Ethical,” the Moroccan researcher, Dr. Muhammad Al-Zanjli, emphasized that the shortcomings of the indoctrinated educational model impose the use of “theatrical spectacle” as an actual educational tool, calling for its “institutionalization” within educational engineering as an act of learning that relies on experience and simulation.

In her paper “The Relationship of Theater to Young Adults in the Educational Institution,” researcher Dr. Samira Saqel (Morocco) monitored the historical transformations of this relationship, calling for a “holistic vision” of artistic education that frees it from the restrictions of school, and considers the practice of theater an acquired right for all young people, as a strategic tool for consolidating national identity.

At the conclusion of the forum, Ahmed Bourahima honored the participants in appreciation for their valuable research.

As part of the training program, the festival organized a workshop on “Theatrical Diagnosis… Actor and Role” under the supervision of Emirati artist Mohammed Juma Ali.

The workshop included training in methodologies for building a dramatic character through psychological and social analysis of the text, focusing on main axes, including: comprehensive reading of the text, identifying motives and goals, building the psychological depth of the character, analyzing what is behind the words, and matching the physical rhythm with the nature of the role.

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