As part of the celebration of National Theater Day, the Al-Talaei Theater Company of Agadir presented its latest theatrical work, “Connection”, written by Ali Dah, directed by Hassan Badida, and the identification by the artists Mohamed Aouragh and Hassan Alioui, the scenography by Bashir Erki and the management by Ibrahim Fom Ghelil.
The theatrical work “Conxion” draws its aesthetic and intellectual components from various philosophical horizons, in particular the theater of the absurd and the philosophy of existence. A mental and intellectual theater, as we find in most of his theatrical works with his pioneer troupe, “Helou Al Bab” and “Al Barakasa”, which were presented to the public at the end of the last century and at the beginning of the 3rd millennium . Speaking is like the pioneers of the avant-garde like Berthold Brecht, Pescatore, Alfred Gary, Grotowski, Artu… and the pioneers of the theater of the absurd like Samuel Beckett and Eugène Ionesco, the latter who asserted that the basis of the theater of the absurd is an attempt to expose reality and false slogans. but rather a disgrace since his mother gave birth to him and this world is unreasonable. (1)
The “Conxion” theatrical team succeeded in exposing our false reality, exposing our illusory heroism and the breaking of our wooden swords, emotionally luring us into the worlds of spectacle to discover the flaws in ourselves and the falseness of this existence that we live, by unveiling all the manifestations of schizophrenia that afflict our liberal societies, at various levels and levels, The show is an endless labyrinth of sequential semiotic signs in the form of a well-structured dramatic and symbolic journey. Traveling in the show is a lie, dreams are postponed, feelings are tainted with hypocrisy, and the train that the two characters are waiting for in its symbolic dimension will not arrive, to continue waiting for Godot who will not come at a when the connection was cut. On all areas, on development, on the economy, on politics, and on society… So that the individual in this society loses his compass and walks like a ship lost in the sea and his destiny towards the unknown , in a way that identifies with a set of philosophical perceptions that have revealed the inability of liberalism to understand its class existence and the consciousness of its destiny, Let us stand before a man whose structure is dismantled, identity is dismantled, existence is dismantled.. The existential philosophy of Sartre, Albert Camus and others predicted the need for man to free himself from this absurd existential fear in which he lives, this disgraced human being in the age of the Internet and the Connection has transformed its products into controlled robots, which have made existence in backward societies, in particular a disjointed existence in the concept that Herbert Marcuse introduced in his book “The One-Dimensional Man” ( 2) where the new human It is exposed to my most heinous manifestations of exploitation in the age of technological rationality.
The piece “Connection” is a symbolic network of connotations, it does not present a single thematic theme, but rather a network of subjects. The show has largely managed to weave between them, raising many questions based on the symbolism and meaning of the dramatic situation, here is the problem of development and there is a plague of what is now called a phenomenon “the social influencers,” and there’s the issue of culture, art, education, unemployment, awareness…all of which the show managed to blur and sorely highlight. caricatural, making the show a thematic and artistic offshoot.
Among the solid intellectual and aesthetic foundations on which this artistic achievement rests, we find the theater of the absurd, as well as other aesthetics, which have formed for us a complex theatrical work that seeks to expose the absurdity of the naughty conscience. intellectuals from backward societies and needs more pauses for reflection. It is the spirit of “Samuel Beckett” that is strongly present at Chez nous in the show, through this artistic and aesthetic recourse to the theme of expectation in the text and the show together, as is the case in the immortal piece “Waiting for Kudu”, but waiting in the show offered us a new way of seeing the author and the director as a central pillar of dramatic construction and aesthetic performance. Ali Dah had succeeded to some extent in cultivating techniques of falsification of the text through the characters of Al-Arabi and Allal in a way reminiscent of the characters “Vladimir” and Estragon” in Beckett and the theme of the waiting, where the two characters absurdly meet at the station to find themselves in a state of endless waiting, a symbolic wait, Waiting for a train that will never arrive, and “Godo” has not arrived, which has was invested by the director Hassan Badida, who made waiting an aesthetic theme that stirred the rhythm of the show. By the director, in a way that casts a shadow over the recipient’s psyche, the initial rhythm will suddenly disappear, before the rhythm begins to intensify again by adopting the “flashback” technique, which has us gave an undulating spectacle in terms of rhythm, which made for a harmonious presto.
The show began with the entrance of Allal and Al-Arabi, preoccupied with their phones, talking to their hypothetical lovers before the “cover” was cut off (the connection). For “Connection” to become a tool of control, and a symbol of true interrupted communication, which is the absent serious political action, and it is the class, which is the naughty conscience, as a facet of misery for the ‘ “Arab” as an educated person who realizes that “the connection is cut between us and above. »
Thus, the theatrical performance “Connection” is a model of serious theatrical works to which the Moroccan and Arab theatrical scene testifies because it raises the concerns of modern human thought. With his intellectual perceptions saturated with philosophical backgrounds aware of the reality of neoliberalism in the age of the Internet, and a director’s vision with a unique aesthetic dimension based on the technique of film editing based on the diversity of storytelling paths cinematic and scenic fragmentation, in addition to the strength of the diagnostic performance of the actors, where the artists Hassan Alawi and Mohamed Simuka Aurag created In the performance of the character of “Al-Arabi”, the educated man who has had enough of expecting a bright future, and “Allal” who wanted to join the army to prove to everyone that he is worthy of respect in a country where all dreams have become postponed. The two artists also managed to present a group of other characters in the case of the memory. marine character, the crab character…. What made the show a harmonious symphony of emotions and feelings that emotionally drew the recipient to fit into the The dramatic situation, with the feelings, attitudes and thoughts of these characters, crying their tears, rejoicing of their joy, sad of their sadness, and smiling of their smile in the shadow of a black comedy. For the diverse text, the performance of the actors was therefore characterized by the refinement of emotional memory with full awareness of the intention of the dramatic performance to allow for the possibility of a smooth transition and the ripples of psychological emotions and culture of the characters with full awareness. respect for the psychological realism posed by the Russian director Konstantin Stanislavsky. As for the sign, as we mentioned above because of its labyrinthine dimension, the piece was able to constitute, through the two chairs of the station, an integrated semiosis for the show through this diversified course of the sign in a way which covers all the components of the scenography from visual and sound effects, although we realize that it requires more aesthetic and performative development due to its infinite possibilities By being more open to the aesthetic developments of theatrical performance, in order to circumvent a number of observations that can be presented for presentation here and there. Aesthetically, there is no built-in spectacle.
Overall, the theater performance “Connection” offered the audience an opportunity to enjoy themselves aesthetically and intellectually, as a model of serious theatrical work that interacts with societal issues and considers theater to be a moment reflection and pleasure. Aware of all its technical and intellectual components.
1 Yukine UNESCO, quoting Muhammad Jalal Arab, “Manifestations of Black Comedy in the Moroccan Theatre”, Ibn Zohr University Publications, August 1, 2012, p. 75
2 Herbert Marcuse, The One-Dimensional Man, translated by George Tarabashi, Dar Al-Adab, 2004.
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The piece “Connexion” is a symphonic absurdity which strips our consciousness and our existence, which lacks a compass. – Morocco-News
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