Prof. Talal Darjani – Lebanon

talal.darjani@hotmail.com

Civilizations

As soon as the bare feet of the educated actors touched the stage, the light rained down embraced by the feeling, as a reaction to the transparency of rare creativity.

Suddenly, the beam extended outside, so the storm of the soles of the passers-by in the streets froze with the motors of the vehicles in the frosty darkness of the city’s soul, the roads rested from the screams of homeless beggars wandering among trees whose trunks were gnawed by birds in search of food, from which they built an outpost to hide in from the theatres’ noise whose their backstages are dying and their audience is fighting over the seats, an audience that each viewer of it, resembles a caveman whose forehead is stamped with verses of flat cultural boredom and whose body is painted with artistic ignorance drowning in a flood of plagiarism and academic forgery.

The echo of the authentic creativity’s silence flutters amongst the scenography of our play, out of gazelle hair stretched by soft strings that morph in geometric beauty emanating from the highest goal of the directorial vision, upon which the bodies of the actors dance with flexibility, spin between the actions, the events and the characters’ objectives, revealing openly the inner conflict that carves the map of the literary text into artistic scenes whose aesthetics are integrated by achieving the creative goals based on the idea of ​​​​the writer and developing it into a topic inhabiting the viewer’s thought, where the process of analysis and mental discussion begins between the auditorium and the stage, and that is with a dramatic escalation that is drawn by the philosophy of the mise-en-scène that stems from the details of the artistic ideology of the writer and director.

At that moment, the actor begins to discover himself and hastens to purify himself of impurities and of the false artificial states, then he struggles to consolidate the foundations of his artistic personality based on the life of the role and its travel between the crossings and paths of all the components of the theatrical performance space.

The director works alone and for years on preparing the text and elaborating his directorial vision after he has analyzed all the clues and covered all the aspects of the writer’s literature so that his intellectual platform becomes clear and solid in building all the show’s characters and what revolves around them.

This serious pre-rehearsal preparation necessitates the success of the play and provides all artists with the intellectual opportunity to develop imagination and fantasy to strengthening the research aesthetics of the show and spreading positive provocation between the actor and himself, between the actors combined, and between the stage and the audience.

And based on this challenge in an honorable competition to knowing the secrets of creation, knowledge, awareness and beauty are formed. Thus civilization becomes a permanent goal for a society that is not shaken by sick cultures and artistic traditions that grew up on cultural corruption mixed with prostitution, exploitation, pretention, lies and opportunism in art and in the abuse of public relations policy in and outside power that is based on mutual interests, in an attempt to slaughter genuine artists who are committed to the real people’s pains and to classic literature that is hundreds and thousands of years old and is still a rock base for contemporary literature, as it is the path guide for the permanence of ancient universities and art institutes that always seek to build laboratories of development and theatrical discoveries year after year.

Our civilized audience is still steadfast in its seats and in an amazing state of concentration, like a sculpture, thinking of the utmost states of feeling.. the sight of each one of them racing in a scenic pursuit that appears as a realistic dream. The applause rises secretly in an internal discipline that awaits the moment of the resounding explosion between the fingers and soles of the holy hands of those spectators before they return and bow down in a state of constant alert then breathe involuntarily the adoration and love for the stage gods who embody their ideas: the spectetators’ ideas, in the rituals of the academic theater that honestly expresses their suffering and pain as a result of a lost cultural life, because their thirst is higher and nobler than the artistic plague system that governs some social media, screens, theaters, universities, institutes, and others.

This convincing show and that artistic masterpiece confused the country and the region and its worn-out systems that begin with the inception of the false theatrical pioneers and their misguided disciples lounging on the sidewalks and vulgar money’s palaces of the culture.

Those regimes that set their sights on the goal of flattening human thought and anesthetizing every creator who tries to rise up against a humiliating reality that has nothing to do with Aristotle and his «Poetics», nor with those who were raised by him or by philosophers and thinkers like him.

There is no substitute for printing presses’ ink that writes the jewels of human philosophy

There is no substitute for the references that established our pioneering cultural life which we breathe today of its civilization

There is no substitute for supporting the creative artist to change towards true happiness

There is no substitute for a stage that plays the rhythms of human glory..

Stop smuggling your vulgar and delusive projects between the backstages and the scenes of Arab and international theaters, because our children and students will hit them one day with the fire of progress, and they will sink with their ashes to the bottom of the sea.

Time will wipe them out, as it did with their previous counterparts, because history selects only those who come up with something new.

Theater is not a picnic or a leisure trip. Theater is a human being who thinks, researches, creates, proposes, debates, playing the truth about the pain of life in a language that is loftier and more wonderful than the life we ​​live and with an advanced thought.

Theater is a game for all the specializations of the earth and the universe. We play it in order to transcend with it to unknown planets that we try to discover in order to sow with the inventions of the honest art’s seed, where civilizations sprout for an ideal homeland and a virtuous city in which we grow and learn from the contradictions of its people, trees, animals and nature: how to live in love and peace so that the stage remains an institute for humanity.