The festival, which began on Sunday, is marked by a series of “intellectual sessions” and “round tables” around questions relating to the nature of the “father of the arts”, his essence, his own characteristics and the evolution of contemporary theatre.
The first session, dedicated to the theme of the plurality of identities in the theatre, was marked by the presence of the Moroccan theatre critic Abdelouahed Ben Yasser and the playwright and theatre professor at the Mohammed I University of Oujda, Mustapha Ramadani.
Addressing the concept of identity in contemporary theatre, Mr. Ben Yasser stressed the need to examine and question this concept, given that it often refers to the notion of culture, hence the term “cultural identity”.
Cultural interference and diversity in contemporary theatre are recent since the concept of theatrical staging is just as recent, he also noted, noting that it is only with the avant-garde experiences of certain international theatrical figures that this mixing has been approached on the basis of clear aesthetic foundations.
For his part, Mr. Ramadani focused his intervention on the theme of plurality in theater, believing that “the prism through which theater is approached determines our perception and our vision of this art, although it is essentially the same artistic discipline.”
He explained that “it was natural that the methods of theatrical creation were multiple, and that one could not expect the act of creation, in the East as in the West, to be unique.”
Held under the theme “Aesthetics/Theater and Resistance to Centrality”, the second session saw the participation of Kamal Khalladi, researcher, playwright and professor of dramaturgy at the Faculty of Languages, Letters and Arts of the Ibn Tofail University of Kenitra.
Mr. Khalladi pointed out that academics and professionals tend to view third-millennium theatre according to two main schools of thought.
He explained that “they are now more inclined to believe that the notion of a unified and homogeneous nation has given way to a vision of theatre as an open space that is constantly being reshaped under the pressure of political, economic, cultural and technological transformations.”
This edition of the Cairo International Experimental Theatre Festival, which runs until September 11, is distinguished by a Moroccan presence at the various events and activities. The Kingdom is thus represented by the play “Fatair Atoufah” (Apple Pies) by the troupe “Douze Tmasra7”, directed by Abdeljabar Khamrane and written by the Sudanese Amjad Abu Alala.
The scenography and choreography of this play, performed by Rajae Kharmaz, Zineb Ennajem, Noureddine Saadane and Zakaria Haddouchi, were designed respectively by Youssef El Arkoubi and Taoufiq Izeddiou.
The Cairo International Experimental Theatre Festival is one of the oldest international festivals specializing in presenting experimental theatre performances from around the world. It aims to be a bridge of exchange and communication between different cultures and societies through art, aims to present the novelties of the international theatre scene.
2024-09-04 04:09:21