After years of prosperity and the forefront of Arab screens, the war that raged since 2011 has played a major role in the decline in the level of Syrian drama during the past nine years, as a result of its lack of many professional standards that were the basis for the success of the Syrian series in the past.
Moreover, the disparity between the Syrian artists being included between supporters and opponents of the Assad regime contributed to the lack of the raw Syrian drama product, before this rift exacerbated the transformation of the Artists Syndicate into a security apparatus from which the regime loyalists and others alienated, and the roles were granted based on favoritism and personal relations away from the actor's capabilities and suitability. For personality, to rely in many works on actors who were previously in the second or third grade, in addition to giving few opportunities to some graduates of the Higher Institute of questionable criteria for accepting talents as well, to return to the forefront of the era of the one star.
In addition to the above, Syrian writers and directors found themselves forced to choose between local companies that are allowed to operate within many red lines, or resort to Arab production companies that have their own standards, which in turn led to the absence of an objective political and social vision in the presented texts, which is what It is easy to notice when comparing the works that are produced in the areas controlled by the Syrian regime and the messages they carry that are identical to the narration of the latter, and the rest of the works produced abroad, which rarely depict what is happening in Syria.
Diaspora artistic
This artistic dispersion caused a break in the mirror between the makers of drama and the living reality. Most of the dramas became distorted images of the Syrians who lost a basic platform expressing part of their suffering. His lack of the basics of life, such as electricity, housing, etc., continued to become unable to follow the drama that was supposed to talk about him and use his dialect and his stories.
However, from the point of view of the supporters and those in charge of making them, some recent works have relied heavily on scenes of luxurious homes and luxury cars, especially those produced abroad, so the director appears indifferent to the reality of the Syrians or unaware of their living conditions, even before the war.
These works can easily be included in the list of what has come to be known as "The Levantine Environment" series, which - according to the opinion of many critics - presented the Arabs with a distorted model about that environment and the economic, cultural and social levels of Syrians in that era.
In addition to that, some works that "derived" their texts from world famous works and reformulated them in a process that some call "the clear theft", and even the quote here came in a prosaic way when trying to project it on the Syrian reality.
Of course, there is no denying the existence of some works that tried to simulate the crises of the Syrian people, including poverty, displacement and displacement, and were able to illuminate parts of the real Syrian scene and obtain what they deserve, whether in terms of viewing rates, or the satisfaction of the Syrian public, and even the Arab.
Poor production and distribution
The Syrian drama lacks adequate support and the lack of a local market that covers production costs, as well as the lack of harmonization of the structure of these works and the way they are built to display them on other platforms, while satellite channels have played a large role in monopolizing the Syrian drama consumption, taking advantage of the weakness of the material forces of local production companies.
The private satellite channels were able to create an Arab segment that follows up on these works, which shares its channels and waits for new ones from the joint Arab works, which clearly depend on a number of Syrian stars to achieve their success.
If we compare the forms of most of these works, we will find that they fit the taste of the Arab viewer - especially the Gulf - who at least do not suffer from the wars and conflicts that the Syrians suffer from, so many works that included Syrian stars with their local dialect, but with Gulf, Lebanese or even international content, that is to say. The new Arab drama makers were able to steal the Syrian artists from the Syrian drama, and perhaps transform them from the owners of a message to the performers only.