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Recenzowane materiały z konferencji: IX Ogólnopolska Konferencja Arabistyczna; 2014-10-13; 2014-10-14; Poznań; Polska
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dc.abstract.en
Given the plethora of performance-art festivals in the Middle East, it seems that theatre continues to enjoy a strong position in Arab cultural life. As critics point out, however, this does not always translate into an audience’s true interest in what local art groups have to offer. The socio-political upheaval that the Arab Spring has sparked is now a great challenge for Arab theatre, as well as an opportunity to redefine priorities and reflect on its own condition. Arab theatre joined the socio-political debate relatively quickly, seeking to shape national and civic awareness. It is enough to mention the concepts put forward by Yaʻqūb Ṣannūʻ from the early 1870s. Yet, despite the great efforts and ambitions of such artists as Yūsuf Idrīs, Saʻd Allāh Wannūs, Aṭ-Ṭayyib aṣ-Ṣiddīqī and ʻAbd Al-Qādir ʻAllūla, theatre has never developed into a mass cultural phenomenon in the Arab world. This is because the too rapid political changes and government instability had an adverse effect on the theatre’s situation. Consequently, with no essential financial backing from the State, Arab theatre lapsed into commercialism, shifting away from socially-committed art, towards cheap entertainment. Arab regimes were happy with that, as the stage would no longer be the place of social gathering, rather, it would become a space for a tame artistic hobby. Ṣamīm Ḥasab Allāh believes that this estranged the bulk of the audience from theatre, making it an elitist art. As the Arab Spring dawned, the theatre community started to ask the question of how much had been done to facilitate democratic changes and make the audience aware of their own condition as citizens. What is more important than answering this question, I believe, is the fact that despite countless difficulties and stifling censorship, Arab theatre managed to remain vital at critical times and keep in touch with what was actually happening, both in the protester-filled streets and on the ever-popular Internet. There is not a shadow of doubt that the events of the Arab Spring gave the entire Arab world a powerful jolt to revive theatre. Multitudes of initiatives have emerged to make the audience more familiar with the mimetic medium of artistic expression, by demonstrating its extensive potential as a space for social and civic dialogue. I hope, however, that Arab authors will not engage into overly ambitious and unviable projects as they did in the 1950s and 1960s. They should realise that while theatre can facilitate social reforms and changes, it will never replace civil society and genuine political engagement in solving real problems in the contemporary Arab world.
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teatr arabski
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Arab theatre
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0,73
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W kręgu zagadnień świata arabskiego
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pol
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dc.participation
Gadomski, Sebastian: 100%;
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dc.affiliation
Wydział Filologiczny : Instytut Orientalistyki
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dc.subtype
Article
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dc.rights.original
bez licencji
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