Participated in the intellectual forum accompanying the Sharjah Festival of Gulf Theater; to reconsider the current experience, and linking them to his popular heritage, while maintaining a constant openness to global experiences and benefit from them.
The forum will be held this year under the theme "Gulf Theater and Folklore". The Bahraini student Abdullah Yousif, who presented at the forum a paper entitled "Gulf Theater and Folk Performance Arts", which are engaged in the contemporary Gulf theater experience, re-contemplated and evaluated their projects that have become devoid of popular heritage. He called for the realization of vision and vision in the components of the heritage "to select what feeds and fills the imagination of the box The creator, the cinematographer, and the recipient) with the astonishing abundance of the achievements of the Gulf life, in its four historical components and its social fabric: maritime, desert, agricultural and civil. "
march
Yusuf returned to the historical march of the Gulf Theater, and the relationship of the emergence and evolution of the popular heritage, and the effectiveness of that inherited in the first periods of the emergence of the phenomenon.
He believed that despite the simple beginnings of the Gulf theater movement, the pioneers were fully aware of the importance of the theater and its role in the society; what motivated them to employ the phenomena of society and forms of their heritage, and easily; in their achievements theatrical, which resulted in many theater works, , Emanating from the heart of his life, civilization and heritage, and open to the world stage practice in that era.
"The achievement of the pioneers, and the establishment of the Gulf theater movement in all its dimensions, did not last long, and did not continue to escalate. A final period in which we are witnessing today its manifestations and results led to the separation of theatrical practice from heritage Which led to a decline in the movement of the play in general, and retreat, and a loss for the public, the audience that took the stage in its beginnings and support when he saw himself and his legacy and authenticity ».
Popular singing
For his part, the Saudi Dr. Sami Al-Jamaan devoted his paper to "adapting folk singing to serve drama" and justified his focus on popular singing with the urgent need for studies on ways to employ the song in the theater. The popular song can play two prominent roles in the play. The first is the dramatic role. Each song is related to dramatic circumstances of sadness, joy, meditation, Dramatically, it can be exploited to deepen, develop or transform the event. The second role of the song is the performance, as the song is the first of the performance of sound and rhythmic and dynamic, which means that they are active on the stage, when exploited correctly, which is consistent with the psychological atmosphere and sense of the scene in which it is exploited. Al-Jamaan reviewed a number of Gulf theater experiences, which hired the song consciously employing these dramatic and performance dimensions, and was able to exploit its energy in both directions, and reach to the works of art especially, especially in the UAE and Kuwait.
«Make-up» .. The last portals actor to personal
On the sidelines of the Sharjah Gulf Theater Festival, a training workshop was held entitled "Basics of Makeup", supervised by the Bahraini artist Yasser Saif, in the presence of a number of theater makers and those interested in this element. The ancient Egyptian pharaohs used kohl and henna in cosmetics and decoration, followed by the Greeks and Romans, as well as Africans who used oil and oils to polish the skin, and knowing the make-up, say the use of masks and replace them.
Saif stressed that this element, which may seem simple and marginal, is in fact one of the most important elements of beauty, facial features, the last portals of the arrival of the actor to the personality that must enter the so-called «internal makeup», which has nothing to do In the colors and colors used by the Macier, but it is related to the internal situation experienced by the actor from the inside to characterize the expressions on his face and body, and then completed by the Macier by putting lines and touches on the face of the actor prepared for the work of the Macier who is not only stop the face, but extended his work to the rest of the parts The body; it is not reasonable to see a fresh hand Yeh with the face of the old person, nor a white neck-to-face brown or vice versa. He explained that the work of make-up begins as all elements of the play starts from the text. The mackerer must read the text well, so as to improve the performance of his role in the show, and have an appreciation and a view, not just a tool to benefit the point of view of the director. He pointed out that the Mackerer to attend the training of theatrical performance, and meet the staff from the beginning of the director.