From the stage, creative Syrian names emerged, who recorded a presence on television and cinema screens, not only at the local level, but also at the Arab and international levels.
But the issue of the return of the stars to the stage of Abi al-Funun was looked at by playwrights from different angles, some of whom saw it as an important element of attraction for the audience due to their fame and great popularity, while others considered that the return of the masses to the stage has nothing to do with the stars, but rather due to the growing awareness of people about this great art, and there are those who confirmed that there are stars Theater they are still working on and have not stopped because they believe that it is best able to convey people's concerns and their aspirations for great human values.
Director of Theaters and Music Imad Jalloul confirmed to Sana Cultural that the presence of TV stars in any theater show is an important element of attraction for the audience and promotion in general. Television and film technologies also quoted his main tools.
Theatrical writer Jean Joan, editor-in-chief of the theatrical life magazine, saw that the observer of theatrical activity in Syria in recent years noticed a demand from some artists who had previously proven a presence on the stage and then abandoned it for various reasons to participate again in the performances, repeating this demand for the realization of these artists that there is no He sang to them about the theater and its rich worlds and spaces, and that the theater audience remains the basis and is the most capable of evaluating the artist and giving him his right despite the wide spread achieved by the artist's television drama.
Jan provides an additional reason for the return of some artists to theatrical work, which is the good level of the texts that are selected by our directors, reaching the conclusion that the theater gives the artist a strong impetus to maintain his level and constantly develop his tools because the stage needs energy and vitality that may decline in the artist if he neglects it or failed to develop it.
The author of the Night of Honor play stops at the recent trend of the Syrian theater to take advantage of the visual elements in its new performances, as in the children's play Fulla and the Seven Dwarfs, directed by Bassam Hamidi, which is consistent with the audience's constant yearning to develop conditions for follow-up and attendance to explore everything new in the world of theater.
But there is a point of view that contradicts what Jalloul and Jan have stated about the motives of television stars to work on stage. Playwright Samer Mohamed Ismail considers that there are those who work in the theater today in their spare time on television, and that the drama stars are mostly far from the father of arts, but only brag about their love for him and their desire to work with it.
The author and director of the play (Inner Night) finds that there are theater stars who are still working and have not cut their heads off the artists Ayman Zeidan, Ghassan Masoud, Samer Omran and others, but the real test of the TV stars’ desire to work in the theater has invited them to work in a show where we find in many of them pretexts and arguments ready to evade from Share.
The Syrian stage during the time of the war never stopped, as Ismail shows, until it needed someone to help it. Rather, the number of its audience increased, which social media contributed to encouraging him more to go to its halls and follow the theatrical works of its elites, following the example of her grandfather Abi Khalil al-Qabbani in standing in the face of darkness and darkness, believing that theater is almost the only means of expression. The rest we have, which is best able to convey people's concerns, concerns and aspirations.
The return of the stars to the stage during wartime is not an emergency, as the critic and media critic Badi’ Sanij points out, explaining that the return of the stars to the stage did not increase in these years, but rather remained within its natural framework, pointing out that the return of the masses to the theater has nothing to do with the stars, but rather by increasing public awareness of the impact of this art. and its aesthetics.
Sanij points out that there has always been a group of actors who have this passion for being on stage, as they throughout their artistic career from time to time present or participate in theatrical works, but the main obstacle is not the script or directing, but the material factor.
Despite this, Sanij acknowledges that there are stars who bring a larger audience to the theater, such as the artist Ayman Zeidan, who creates a mass audience because he works mainly within the popular theater, in addition to the comedic way in which he deals with his themes.