Their love for Damascus brought them together to return to it from their expatriation and perform “Taj Al-Arous” (crown of the bride) show.

The Higher Institute of Dramatic Arts was not only a stage of study in their lives, and Damascus was not a place to register their birth certificates, rather its impact remained in the heart of the institute’s graduates, so that they returned from countries of expatriation to the Dar al-Assad for Culture and Arts after refining their experiences there by creating an elaborate theatrical work, “The Crown of the Bride” after its launch from Damascus, they toured several countries around the world to perform it.

Expatriate director Ahmed Zuhair, director of the Taj Al-Arous musical, explained that Damascus is a country of love and peace, and it is appropriate for the most important mass-produced works to be held there, which elevates the artistic taste of the Syrian recipient.

Regarding his experience in the field of dance theatre, Zuhair said: “I started working in art as an academic dancer and after studying it ,I traveled to the UAE , Lebanon and Saudi Arabia, then I established a company in Dubai 12 years ago, where we presented several works in several Arab countries, but when it came to the Taj Al-Arous musical, we wanted it to be launched” From Damascus.”

Zuhair also praised the Syrian dancers in Syria and their academic skill and said: “We were able to bring together young talents alongside experts , some were living in expatriate countries to form a harmonious mix despite their differences, each one of them has a special technique and a different method, where we found ourselves in training and rehearsals were able to create familiarity and harmony between them, which reflected positively on their performance in the theatre.”

Zuhair explained that the actor, even if he is not trained in dance techniques, must have knowledge of body movement on stage, because acting on stage is different from television and requires deliberate movement and a specific timing that controls the actor’s entry and exit, where he must be well aware of that.

On his part, expatriate lighting designer Maher Al-Habash spoke about his experience, saying: I started working in lighting after graduating from the Higher Institute of Dramatic Arts, Department of Theater Criticism, then I traveled to France and specialized in lighting, and since 1997 I have been working in this field and my presence in Syria today is aimed to put my long experience into implementing this important theatrical work.”

Regarding the nature of his work, Al-Habash said: “In dance performances, we, lighting designers, rely on aesthetics, as they are what push us to deal with the body and décor, therefore, my work is aimed to entertain the viewer and bring him to the greatest extent of visual dazzlement.”

Al-Habash continued: “Lighting requires reading the text and determining the general atmosphere, through which the show data is dealt with ,it has to do with the viewer’s full awareness of the visual culture, because here what we are trying is to bring the visual object closer to his culture.”

Al-Habash concluded his speech by saying: “I will be very happy when I am invited to perform a theatrical performance in Damascus, which for me represents the home of my  soul and body, with the hope that the repercussions of the unjust war on our homeland will end, and where we will return to it with all the energies and experiences that we have stored in the countries of expatriation.”

Leen Al Salman