SITFY Celebrates the Iraqi Theater in the Presence of Chairman of Iraqi Artists Syndicate, Iconic Ac

SITFY Celebrates the Iraqi Theater in the Presence of Chairman of Iraqi Artists Syndicate, Iconic Actress Asia Kamal, and Artist Raed Mohsen


Sharm El-Sheikh International Theater Festival for Youth (SITFY), under the supervision of director Mazen El-Gharabawy, celebrates the Iraqi theater and its iconic figures during a symposium, in the presence of Chairman of Iraqi Artists Syndicate, Dr. Jabbar Judy. Dr. Mustafa Selim moderated the symposium and praised the Iraqi theater and the concepts it presents, as well as the awards it won in theatrical festivals. He also mentioned the names of several Iraqi artists.


Initially, Chairman of Iraqi Artists Syndicate tackles the Iraqi theater stating: We always work hard to be in the front lines… The Iraqi Artists Syndicate is always keen to be present in regional and Arab ranks in multiple dimensions… Additionally, we are keen to fully support all Iraqi theatrical figures… The Iraqi theatrical movement has been developing… In fact, we face multiple obstacles, including the artistic management … In academies, the artistic management is not taught and we depend more on talents. Thus, the artistic management has been deteriorating. These circumstances lead to deteriorating the status of theater. For instance, we do not have a yearly festival.


Judy adds: Our Syndicate was keen to take the lead in the artistic community through the cooperation protocol with the International Theater Authority… SITFY sheds light on the Iraqi theater during its events, so we were keen to attend.


Artist Asia Kamal declares: I started my artistic career through the Iraqi National Theater -which was a true beginning- with iconic directors… I learnt the ABCs of theater from them… Later on, I joined the Institute of Fine Arts from which I benefited a lot. I worked more than 42 years in the National Theater, along with television works. Asking me about my perspective about the Iraqi theater is a rhetorical question, for I learnt a lot from it.


Iraqi artist, Raed Mohsen says: Cairo Festival -1988- is the first festival I participated in. The generation to which I belong in the Iraqi theater was in the eighties, AKA the generation of death, for it lived through the wars period. In the seventies, the theater tackled social topics, but in the eighties, the theater changed a lot due to death and wars. After the First World War, we faced the Second World War which was the War of death and siege. Works started to tackle death and siege. These circumstances benefited the Iraqi theater a lot, for they kept it away from the idea of directness and it relied on image and reflection. The problem of our generation is depending on the repetition of one idea; the idea of death. No one was able to get past this idea. I hope we present joyful shows to indicate that our country is living in peace.


Director and researcher, Dr. Mohammad Saif declares: The Iraqi theater was about to die a long time ago, but fortunately, it had great founders. There were professors teaching many generations. These generations could not do without theater, no matter what, despite everything they faced. They didn’t surrender.

The Iraqi theater preserves its identity, tools, values, and constituents. There is a real Iraqi theatrical school that time cannot transcend.


Dr. Amer Sabbah Al-Marzouqi states: Devoting a day to celebrate the Iraqi theater is something to be proud of. What distinguishes Iraq is that each governorate includes a huge number of performances and theatrical figures. We issue 50 theatrical scripts and present 100 theatrical performances per year. Iraqi youth always seek to represent Iraq in international and Arab festivals.


Artist Jabbar Al-Mashhadani declares: The Iraqi theater is similar to the Egyptian one, for it is a political theater, quite literally. It started as a youth theater and will continue as such. The role of Iraqi youth is vital… Iraqi youth succeeded in restoring the theater’s splendor… and despite wars, they did not lose their strength and unity.


On her part, artist Amal Al-Dabbas states: Jordanians learnt a lot from Iraqi theatrical figures, in addition to Egyptian ones, indeed. As for me, I was honored to work with iconic Iraqi figures… Iraqi theatrical figures followed the same pattern in order to continue… We always enjoy the Iraqi theater’s works -even though they are dramas- because they express Iraqis specificity.

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