Fatima Hamdi-Algeria
"Remontada" (Back Again) This is how the fans describe the situation of the Algerian drama this year, after the artistic arena has been a business that satisfies the spectator's ambition for many years, when the screens were only on behalf of my director or two in the local Jamahiriya.
Between works without text and without production possibilities, the Algerian specter of Lever went to the Syrian or Egyptian drama and then to the Turkish and then the Lebanese-Syrian partnerships, in light of the vacuum of the local arena, whose production is far less than demand.
Algerians have been wandering among the canals in search of works that cover the scarcity of local production that had previously dominated the era of adults, such as the late director Gamal Fazaz.
The isolation of the Algerian drama has been imposed since the black decade, despite the attempts of a number of specialists to break it, so the scene was limited by the fingers of one hand of the works that played the role of magnet in attracting Algerian scenes in front of the temptations of Arab productions huge.
The Algerian returned in Ramadan 1440 H / 2019, to reconcile with the local drama through a number of works that have achieved viewing percentages in the millions since the first days of the month, "Khawla, 25," I did not follow any Arab work, the number of good Algerian series this year.
The success of the joint Algerian-Syrian series by Ahlam Mosteghanemi, "Memory of the Flesh", was the first artistic work to open the door to the Maghreb-Maghreb partnerships. "The experience took a long time to be repeated, but most importantly, Through "Black Rose".
After a number of attempts at joint production and artistic experiences during the previous years, especially between Algeria and Tunisia in the field of comedy, Algerian scenes found itself this year in front of two Algerian works shared between the Syrian and Tunisian dramas considered the most popular.
"Tunisian-Algerian co-production in the comedy" My Dear Nesbiti "is a unique experience that reflected the possibility of opening up the Maghreb market to each other and forging a common identity," Tunisian journalist Saifallah Mashat said in a statement to Al Jazeera Net.
Mashat added that "the success of the previous joint comedy experiences encouraged other works to emerge during the year, such as the series" Mashaat ", where it can create a harmonious Maghreb drama tug that has greater marketing potential, and over time these projects can dismantle the hegemonic dominance of the Arab market.
Mashat said that "the repetition of these works will break the dialect barrier which has been an objective obstacle to Maghreb creativity in general in the last decades and in front of the Arab viewers as well." The producer of the Tunisian series "Moussem" stressed the company's attempt to translate the work into Syria.
The Tunisian producer promised to broadcast the series in the major Arab channels after finishing his dubbing of Syria "as the tone closest to the Arab scene," as he put it.
For his part, the installation official Zinedine Hamdi said that the secret of the success of the series "feelings" is to work with high technical techniques, as "I respect the mind of the viewer who became aware of the simplest lapses, which was believed to be a monopoly on the specialists."
"We can not deny that the Turkish drama found itself a global place," he said.
On the other hand, the Algerian series "The Children of Halal", starred by Abdelkader Griot, Youssef Saheiri and Souhaila, managed to reach more than four million episodes per episode, breaking the work of a "bourgeois class drama" in Algeria, as some would call it.
"The local market is enough to focus on it before moving the ambition of going out to work that targets Arab or international audiences. We have not yet understood that we have a mass structure if we invest in it," he said in a statement to Al Jazeera Net.
"The Syrian and Egyptian dramas have reached the Arab scenes through the details, and the Egyptian has not marketed himself a picture that does not resemble his reality," he said.
It is the responsibility of the drama to reflect the reality and identity and what some believe that the work of art does not have to match reality, remains the winner of the largest diversity that brought the Algerian drama to the local and Arab audiences after the years of closure and confusion, as described by some.