Drama is a major tool for conveying the image of society, and at times it plays a big role in raising issues and perhaps helping to solve them, but in the Syrian case it is going through a real crisis after nine years of wars, and the Syrian refugee remained on the sidelines of her interests.
In the dramatic context, some of the series attempted to convey part of the issues of Syrian refugees present in Lebanon specifically, especially as they fall into the category of joint Syrian-Lebanese business that has increased in demand during the last nine years.
Among the most prominent of these works are "Tomorrow We Meet - 2015" by its author Iyad Abu Al Shamat, starring Karis Bashar, Maxim Khalil, Abdel Moneim Ammari, Abdel Hadi Al Sabbagh and others. The series has tried to tell the stories of Syrian and Palestinian families who fled from the hell of war to Lebanon, and established its own community in an abandoned school near Beirut, turning each room into a small house. The characters vary in action between the pro-Syrian regime, the beneficiary of it, the opponent of it, and even the extremist wishing to rule the Islamic State, and between the educated dreamer and another who searches for a living or a means by which he escapes from the quagmire of asylum, so some of them succeed in reaching safety (France) while it is Actual or psychological death for others.
The series touched on aspects of the complex Syrian issues without alignment with any of the parties to the conflict, so that the director Rami Hanna, using dim lighting and pale decorations, can depict the extreme poverty and displacement that has become a feature of the Syrian displaced in the neighboring countries, and this is what made - in addition to the high performance of the actors - one One of the few works that the Syrian public, and even the Arab, in all its shapes loved.
The harsh conditions of asylum and the oppression that accompany the Syrians in Lebanon are also found in the final scenes of the short series "The Dean - 2020" in which Tim Hassan played the role of professor in criminal analysis, his professional passion motivates him to reveal the circumstances of the disappearance of a well-known novelist whose role was played by actress Caris Bashar To show the facts of the case, the husband was not engaged in the sale of paintings and artifacts, but in human trafficking and ran a network to sell camp children.
The series shows painful scenes of the reality of the Syrian camps in Lebanon, and highlights the difficult living conditions that drive many Syrian refugees to search for any way to salvation.
But the suffering of the Syrians does not start with asylum, but rather the suffering that precedes that within the Syrian interior, and the related dreams and disappointments of immigration, which is what the writer Mamdouh Hamadeh tried to address in the series “Blow the Shanati - 2014” through the black comedy as part of the case The Syrian family, which lies in the areas controlled by the Syrian regime, and its poverty and lack of basic necessities for living.
This series, which starred in the roles of Bassam Kousa, Amal Arafa and others, is one of the most important series that conveyed the suffering of a wide segment of families in the Syrian interior, as it tells the story of a family trying to escape the pressure caused by the war, and dreams of going to the old continent, mortgaging its home and life To achieve this goal, and at the end of work, the family succeeds in boarding the boat (balm), but, like many Syrian families, it ends its journey with death. In contrast to his work, "A lost estate," the writer excludes the child Serena from the fate of her family after her mother linked her to a plastic container that saved her from drowning. Perhaps that was the desire of the author to leave the door of hope open even at the heart of the tragedy.
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The repercussions of the war lost the Syrian drama, its originality, and led to the almost non-productive ability to move forward in presenting the content stemming from the depth of social, economic, and even political problems, and most of the dramas became joint Arab, especially Lebanese-Syrian ones, whose stars are Syrian stars, and their directors are names It is well known that it has resorted to Gulf production companies, which prefer not to go into details of the Syrian conflicts, either for promotional or political reasons.
On the other hand, the security services in Syria control all aspects of life, so that the visual artwork turns from a mirror to convey pain and popular concern to a hidden declaration of the messages that the regime wishes to deliver, and the situation became darker with the fragmentation that affected the Syrian actors, and prevented some of them from returning to the country .
Therefore, most of the works produced inside Syria are repeating the regime's account of events and serving their interests. As for those that are produced and photographed abroad, it can be said that the majority of them did not rise to the level of the Syrian event and could not impart the reality with abstractness.
It is reported that many Syrian refugees have produced dozens of feature films, short and documentaries that have touched somewhat the reality of asylum and raised topics and issues related to their suffering, but most of them were not within the reach of the ordinary viewer, but were accomplished to participate in festivals and international film competitions.