Damascus-SANA
What are the strengths of the Syrian drama, and does it seek to present an intellectual experience, or is it still in the process of adventuring by making a visual and verbal stance, even if it is in a sensory image?
Motivating.. These and other questions were posed by critic and researcher Anwar Muhammad in his recently published book, “The Controversy of Sound and Image in Syrian TV Drama.”
Muhammad shows that the first goal of the development of Syrian drama is to achieve a visual shock
In a great dramatic vacuum, the Egyptian drama could not fill it despite its spread, stressing that the Syrian TV drama alone was not affected by what happened to Arab dramas that presented works that underestimated the mind of the viewer and looked at it superficially and moved away from the reality of people.
In the book issued by the Syrian General Book Organization, Muhammad explained that many Syrian TV dramas, or those made by Syrian directors, writers, actors or technicians, had their intellectual paths on a noble and chivalrous end, such as Khan al-Harir, the brotherhood of dirt, Bab al-Hadid, the biography of Al-Jalali and Holaku, and returning to Haifa. And the Palestinian alienation and others.
He pointed out that these works expressed a real enthusiasm for life and not a vulgar enthusiasm as in Arab series whose structure and struggle were based on a cruel and brutal plot motivated by individual emotional motives and working to strip, dismantle and destroy the wall of psychological, spiritual and moral toughness of the Arab person towards his national and national issues under the pretext of politics that contradict With art, or that beauty does not meet with politics, but rather they are in contradiction and a state of conflict and conflict, and they must be separated.
Muhammad pointed out that the Syrian drama dealt with the love of the homeland and the nation and doing good and spreading it with a high degree of suspense, feeling and devotion to the values of truth and beauty, as we saw in the works of Najda Anzour, Hatem Ali, Basil Al-Khatib and Samir Hussein, which represented the wheel of power in the Syrian drama, although there are censors in Arab countries that do not satisfy it This trend.
In the 221-page study that Muhammad divided into two parts, the first section dealt with some models of Syrian soap operas that raised social, historical and political issues, while the second section was a reading of the values of ugliness and beauty in this drama.
It is noteworthy that Anwar Muhammad is a Syrian theater critic and researcher. He has published many books, including the narrator and the narrative in the pronunciation of the Arabic novel and the conditions of the Arab theater state.
Rasha Mahfoud
Follow Sana's news on Telegram https://t.me/SyrianArabNewsAgency
