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Highlights the merit of the Syrian playwrights, Durayd Lahham and Muhammad al-Maghout, whose plays are representative of the Arab theatrical realisation, in general, and Syrian protest plays, in particular. This book portrays their works that combine art with politics, lower class-consciousness and identity with Pan-Arab nationalism.
Writing from a socio-historical point of view, the author surveys and discusses the popular theatrical phenomena in the Arab world from the Hellenic period to the beginning of the 21st century. He notes the Eastern carnivalesque folk sources and the tendency toward comedy rather than tragedy.
The collected essays from noteworthy dramatists and scholars in this book represent new ways of understanding theater in the Middle East not as geographical but transcultural spaces of performance. What distinguishes this book from previous works is that it offers new analysis on a range of theatrical practices across a region, by and large, ignored for the history of its dramatic traditions and cultures, and it does so by emphasizing diverse performances in changing contexts. Topics include Arab, Iranian, Israeli, diasporic theatres from pedagogical perspectives to reinvention of traditions, from translation practices to political resistance expressed in various performances from the nineteenth century to the present.
While Middle Eastern culture does not tend to be associated with laughter and levity in the global imagination, humor—often satirical—has long been a staple of mainstream Arabic film. In Humor in Middle Eastern Cinema, editors Gayatri Devi and Najat Rahman shed light on this tradition, as well as humor and laughter motivated by other intent—including parody, irony, the absurd, burlesque, and dark comedy. Contributors trace the proliferation of humor in contemporary Middle Eastern cinema in the works of individual directors and from the perspectives of genre, national cinemas, and diasporic cinema. Humor in Middle Eastern Cinema explores what humor theorists have identified as an “emancipatory,” “liberatory,” even “revolutionary” function to humor. Among the questions contributors ask are: How does Middle Eastern cinema and media highlight the stakes and place of humor in art and in life? What is its relation to the political? Can humor in cinematic art be emancipatory? What are its limits for its intervention or transformation? Contributors examine the region’s masterful auteurs, such as Abbas Kiarostami, Youssef Chahine, and Elia Suleiman and cover a range of cinematic settings, including Egypt, Iran, Israel, Lebanon, Palestine, Syria, Tunisia, and Turkey. They also trace diasporic issues in the distinctive cinema of India and Pakistan. This insightful collection will introduce readers to a variety of contemporary Middle Eastern cinema that has attracted little critical notice. Scholars of cinema and media studies as well as Middle Eastern cultural history will appreciate this introduction to a complex and fascinating cinema.
This study of Egyptian theatre and its narrative construction explores the ways representations of Egypt are created of and within theatrical means, from the 19th century to the present day. Essays address the narratives that structure theatrical, textual, and performative representations and the ways the rewriting process has varied in different contexts and at different times. Drawing on concepts from Theatre and Performance Studies, Translation Studies, Cultural Studies, Postcolonial Studies, and Diaspora Studies, scholars and practitioners from Egypt and the West enter into dialogue with one another, expanding understanding of the different fields. The articles focus on the ways theatre texts and performances change (are rewritten) when crossing borders between different worlds. The concept of rewriting is seen to include translation, transformation, and reconstruction, and the different borders may be cultural and national, between languages and dramaturgies, or borders that are present in people’s everyday lives. Essays consider how rewritings and performances cross borders from one culture, nation, country, and language to another. They also study the process of rewriting, the resulting representations of foreign plays on stage, and representations of the Egyptian revolution on stage and in Tahrir Square. This assessment of the relationship between theatre practices, exchanges, and rewritings in Egyptian theatre brings vital coverage to an undervisited area and will be of interest to developments in theatre translation and beyond.
Historical Dictionary of Syria, Fourth Edition covers the recent events in Syria as well as the history that led up to these events. The cross-referenced dictionary section has over 500 entries on significant persons, places and events, political parties and institutions, literature, music and the arts. .
This collection offers a postcolonial critique of the ostensible superiority or originality of ‘Western’ political theory and one of its fundamental concepts, ‘citizenship’. The chapters analyse the undoing, uncovering, and reinventing of citizenship as a way of investigating citizenship as political subjectivity. If it has now become very difficult to imagine citizenship merely as nationality or membership in the nation-state, this is at least in part because of the anticolonial struggles and the project of reimagining citizenship after orientalism that they precipitated. If it has become difficult to sustain the orientalist assumption, the question arises; how do we investigate citizenship as political subjectivity after orientalism? This book was originally published as a special issue of Citizenship Studies.
Using previously unexploited sources, Philip Sadgrove provides a comprehensive account of the early history of theatre in Egypt, from the time of the French expeditionary force led by Napoleon in 1798, to the British occupation in 1882. His study - now available in paperback - looks at traditional forms of indigenous Arabic drama, the rise of European theatre in Egypt, the first abortive attempts to create a modern Arabic theatre in the early 1870s, and the project for a National Theatre. Finally, the book tells the story of the émigré Syrian troupes which were to play a decisive part in establishing a modern theatrical tradition. The author also sheds new light on the role of the dramatist and nationalist James Sanua and other lesser-known Egyptian pioneers of the theatre.
During the second half of the twentieth century, the Arab intellectual and political scene polarized between a search for totalizing doctrines--nationalist, Marxist, and religious--and radical critique. Arab thinkers were reacting to the disenchanting experience of postindependence Arab states, as well as to authoritarianism, intolerance, and failed development. They were also responding to successive defeats by Israel, humiliation, and injustice. The first book to take stock of these critical responses, this volume illuminates the relationship between cultural and political critique in the work of major Arab thinkers, and it connects Arab debates on cultural malaise, identity, and authenticity to the postcolonial issues of Latin America and Africa, revealing the shared struggles of different regions and various Arab concerns.
Historical Dictionary of the Syrian Uprising and Civil War introduces readers to the events and main players that shaped the conflict in Syria since 15 March 2011, as the country entered a new era in its modern history. The “Syrian Revolution,” was part of the Arab Spring that was launched in Tunisia, Egypt, and other countries in the Middle East in late 2010. The Syrian situation turned into a winter, which merits such an all-encompassing book that reveals the complex dynamics of the Syrian civil war. Many of the key players, places, and unfolding events were making headlines for a short period before vanishing from memory, but this book records their emergence and influence. The book traces the political opposition, initially in the form of street-level unrest, targeting the rule of the al-Asad family that ruled for over five decades. The book provides a picture of the fighting groups and their varying agendas, including the Islamic State in Iraq and Syria (ISIS) and other extremist groups. It depicts a picture of a country whose civil war caused one of the biggest crises in the 21st century. It contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 200 cross-referenced entries on the major events, places, and actors in the Syrian war. This book is an excellent resource for students, researchers, and anyone wanting to know more about the Syrian uprising.