Mushaweh Honors Outstanding dignitaries in Arts and Literature

DAMASCUS, (ST)_In the presence of host of intellectual dignitaries, the Ministry of Culture held an honoring ceremony on Sunday to honor the winners of the State's Iincentive Awards(arts and literatutre) at al-Assad National Library in Damascus.

Writer Fawzat Rizq won the Literature Award while Ahmad Hussein came first in the Criticism and Studies Award and the Rts Award was dropped from the contest.

Addressing the attendees, Minister of Culture, Dr. Lubana Mushaweh made it clear  that ''creativity mirrors the human soul and unveils its cravings and aspirations, 'adding creativity is a rejection of the very moment ---hatred to the intellectual sterilization----it is an open window  for new horizons and renewed experiments.

 "Furthermore,creativity has a controversial bond with the surrounding environment.Hence,creativity is but a production of a creative man that consequently led to world- integrated components harmony in form and content, explained  Mushaweh .

Mushaweh stressed that honoring outstanding figures is a state's duty to those who are excelled in their jobs.

"pioneers in all fields have a vital role in developing countries .In turn,a country has the fertile soil that produces creativity, "said Mushaweh.

"The two state's prestigious awards aim at consolidating a fresh concept for according much attention to arts and literature, "confirmed the minister.

The minister said that the prizes' committee has worked thoroughly and privately around the clock  to examine up to 80 books( novels, stories and collections of poems)presented by contestants.

For their part,Rizq and Hussein voiced  appreciation for honoring ceremony. lauding the Culture Ministry's efforts in promoting creativity.

Born in Suwaida in 1945,Rizq wrote a number of short stories and novels while Hussein,who was born in 1956,is interested in heritage and literature studies.

M.D

Adnan Mardambek House for Literature and Art Opens in Damascus

DAMASCUS, (ST) -Within the framework of the Culture Ministry's projects in Old Damascus, Dr. Lubana Mushaweh, the Minister of Culture, recently opened Adnan Mardambek House for Literature and Art.

Culture Minister said in a statement to the press that the project is of great importance as it aims at enhancing the culture of reading to be a main part of youths' life. It also stresses the role of books as a major source of knowledge.

"It is a great pleasure to meet at this Damascene house in which our great poet Adnan Mardambek was brought up to become one of the pioneers of Arab literature," the minster said, affirming that the poet imbibed his great love to Damascus from his father Khalil Mardambek.

Mushaweh appealed to everyone, who has a historical house, to preserve it and resort to the culture ministry with the purpose of opening it to the public for cultural purposes not only for tourism.

 Referring to a similar project called "Levant Book House", which is almost ready in old Damascus, Mushaweh said it was transferred from a small house to a meeting place for youths where they can benefit form the computers and books available to enrich their knowledge.

For his part, Qutaiba Mardambek, the son of poet Adnan Mardambek said this distinguished house goes back to the mid 18th century. It had witnessed the establishment of the Literary League in 1921 which brought together many literary figures of that time.

The ministry is keen to carry out such projects in other Syrian governorates.

 

Rawaa Ghanam

Syrian Students Pioneered in World Olympiad Scientific Contests

 

DAMASCUS,(ST)_ The Syrian Scientific Olympiad  has crowned its  achievements for 2012 with several certificates of appreciation, won by members   of the national team in the international Olympiads  competitions in  mathematics, physics and  chemistry. A matter which reflects the evolution of performance at the individual  and team levels in achieving higher scores compared to those of  last year.

Chairman of the National Olympic Commission  Imad Mowaffaq Azab told SANA that the two members  of the  national team for mathematics Mohammed  Yazan Hamsho and Mohammed Kaddour  won two certificates of appreciation for Syria 's  participation for  the second running year in the Asian Olympiad  for mathematics , organized in Japan, while members of the national team  achieved  higher scores in comparison  with their marks     realized in 2011.

He continued that three members of the national team for physics  won certificates of appreciation in  Estonia  Olympiad. They are  Osama Yaghi , Mohammad Razzouk and Ghadir Shabaan , noting that member of the  national Olympiad team for Chemistry  Yazan Ghannam  achieved  35 scores in practical tests in Washington  equaling the mark achieved by the best student in the US to the said Olympiad.

He concluded by saying that evolution in the  performance of the  Syrian Olympiads reflects the quality of the hierarchically  work-based mechanism of  the competitions  and the organization  of  scientific training  and qualification courses under the supervision  of specialized trainers.

Worthy mentioning that most qualified  candidates are  selected  to represent Syria to the  International Olympiads for mathematics  in Columbia, Physics in Denmark,  and chemistry in  Prussia  to be held  in June 2013.

T. Fateh

History of Arab Play

History of the play in the Arab Mashreq

Researchers of the History of Arab Theater agree that the first text set to be performed on stage was the "The Miser" written in 1847 by playwright Maroun Al-Naqqash (1817 - 1855). Scenes of the play were performed by the writer’s own family members on a stage set up in front of the writer’s house.

Some critics believe  that Al-Naqqash had either translated the play or he had been inspired by Moliere’s  "Scrooge" (Miser in English). Some others say that the play was his own writing, but Moliere’s “Scrooge” events were echoed in it.  The play was written in Arabic poetry which lacked rhythm and sometimes contained colloquial Lebanese phrases.

In 1849, Al-Naqqash wrote his second play "Abo al-Hassan, the Fool ", which was inspired by one of the "Arabian Nights" tales. His third play "The Sharp-Tongued Envious "  was  a moral comedy written in1851. Characters of al-Naqqash plays were well-created and well-developed compared to the then development of theatrical work, but the writer, sometimes, didn’t implement certain rules that should be followed in the art of playwriting.

Abu Khalil al- Qabbani (1833-1903) was Damascus’ second playwright and composer with good knowledge of the basics of Arabic music and singing. He wrote his plays to be sung on stage, so he was considered as the pioneer of Arabic lyrical play that fitted the then Arab taste.

 Qabbani had resorted to the storytelling heritage of "The Arabian Nights" to write his lyrical plays. Some critics consider him as the pioneer of originality of the Arab play as he kept his writings away from the effect of the Western theater which appeared in Maroun  Al-Naqqash’s plays.

 "Prince Mahmud, the Persians Shah's Son”, "Ungrateful", "Harun al-Rashid with Prince Ghanem" and  "Qoot al-Qoloub", were among al-Qabbani’s plays, which aimed at entertainment, but contained important advices.

Egyptian playwright and journalist Yakoub  Sannou’ (1839 – 1912),  was the third Arab playwright.

Critics say that Yakoub Sannou’ developed  the Arab play and rid it of the idea of moral purpose, which overwhelmed all events, and placed it within  the framework of social realistic work, which criticized and combated social injustice. In his plays, Yakoub Sannou’ attacked the complex of imitating the Europeans which clearly appeared among the people of the upper and middle classes. He also attacked ignorance, inactivity and bribery. Colloquial Egyptian was the language of Sannou’ plays.

Researchers of Arab drama say that Yakoub Sannou’ wrote 32 plays most famous of which were "The Two Fellow wives", "Helwan", "Alexandrian Princess" and " the Molière of Egypt".

By the beginning of the twentieth century, Egypt witnessed the writing of purely Egyptian plays tackling the situation in this African country. These plays focused on social problems, so they paved the way for introducing the purely Arab social play. Farah Anton's "Modern Egypt and Ancient Egypt" (1913), "Saladin in the Kingdom of Jerusalem" (1914), Mohamed Timor’s "Abdul-Sattar Effendi" (1918), "The Abyss" (1921) and some plays of Tawfiq al-Hakim, are good examples of such type of playwriting.

Ahmed Shawki's poetic drama was a turning point in the history of Arab theater. Shawki returned to playwriting after a long stop following his first play " Ali Beak the Great" (1893) which he wrote when he was a student in France. He returned with the "Demise of Cleopatra" in 1927, later he wrote "Leila's  Demented" , "Cambyses" and "Antara", between 1927 and 1932 then he rewrote "Princess of Andalusia". All these plays presented historical personalities and eras. The "Demise of Cleopatra" and "Cambyses" presented the Pharaonic history. Leila's Demented and Antara are from the Arabic heritage, while "Ali Beak the Great" was inspired by the Turkish history.

 Many critics viewed Shawki's plays as having laid the first brick to use the sober poetry as a language of the Arab play. Later, his plays became a guide to a number of poets in writing poetic theater. Most prominent poets were Aziz Abaza  and Ali Ahmad Bakthir.

 

On the other hand, Tawfiq Hakim was a pioneer of theatrical prose writing. Some of the plays, which he wrote between 1920 and 1950, were classified as society theater and some other as mental theater. He focused in his social plays on the problems the Egyptian society suffered from at that time. His mental plays dealt with intellectual philosophical themes based on dialogue which focused on the ideas more than the characters.
The Revolution of 1952 produced a new generation of playwrights who tackled their people’s problems. Characters were pure Egyptian and the language was often colloquial Egyptian.

Critics say playwright Nou'man Ashour’s  "The People Who are Under",  which was performed on stage in 1956, was the beginning of a new phase in the history of Arab playwriting since it replaced the classical language with the colloquial one and the purely mental dialogue with the realistic and spontaneous one and the dramatic traditional complex with people’s social problems and normal life. Thanks to this generation of writers, playwriting moved from the classical stage to the realistic one.

Beside Noman Ashour, the pioneer playwrights of this stage were: Saad Eddin Wahba, Alfred Farag, Youssef Idris, Rashad Rushdi and Lutfi Kholi.
In the 1960s, a new trend of playwriting had emerged in which playwrights adopted the trochee poetry as a language. Themes like the revolution and the refusing of the wrong were the basis of theatrical ideas. Such a trend was clearly represented in Abdul Rahman al-Sharqawi and Salah Abdel Sabour’s works.

Some critics consider the plays of Salah Abdel Sabour as an era in the history of the Arab play as they contained an extraordinary ability to overcome the problem of pairing between drama and poetry. Among the most prominent poets in this era were Suleiman Essa and Farouk Juweideh.

The era, which followed, was characterized by the direct effect of the different  types of European playwriting. A number of epic plays appeared during this stage such as "Lumumba "by Saad Roav, "Ah Ya Leil Ya Amar" by Naguib Surur and "Baladi Ya Baladi" by Rashad Rushdie. Then appeared the theatre of the absurd in "You Climb the Tree" play by Tawfiq al-Hakim (1962) and "The Newcomer" (1966) by Mikhail Roman.
Most of today's Arab plays are comedies written to commercial theaters and designed to attract audience through vulgar laughing caused by verbal humor or exaggerated movements. Therefore, these plays are mostly suffering disintegrated dramatic structure, superficial treatment of issues and poor construction of characters.

Playwrights claimed that they tried in these plays to highlight  moral objectives and adopt noble values so as to cover the trivial goal of the audience.


History of the Arab play in the Arab Maghreb:

 

Researchers of Arab theater say that the Arab Maghreb knew Arab theatre after the band of Souleiman Alqirdahi had come to Tunisia from Egypt in 1908. After it stayed there, the band visited Algeria but did not reach the Far Maghreb because of the then political situation.  Other bands, like Salama Hegazi’s also visited Algeria to present their performances.

The beginning of playwriting in Arab Maghreb was similar to that in the Arab Mashreq. Playwrights followed the steps of those of the Mashreq particularly in translation and adaption from the European theater, especially the French because of the mandate imposed by France on the Arab Maghreb countries where it was keen to impose its language. Translations and adaptations focused on Moliere’s theater due to the distinguished human characteristics of his characters.

On the other hand, the French occupation’s concentration on obliterating the Arab identity of the Maghreb produced a strong reaction by the peoples of this region aiming at preserving the Arab identity. This reaction was embodied in playwriting through early awareness about the importance of originality in the texts of the Maghreb playwrights, who did their best to avoid imitating European theatrical heritage or applying its rules in order to contribute to maintaining the Arab cultural identity.

This trend continues until Moroccan playwright Abdul Karim Bershid came out with an integrated theory in which he preferred to name theatrical performance as ceremonial art.
Among the most prominent playwrights of the Arab Maghreb were Ahmed Tayeb al-Alj , Al-Tayieb Siddiqi and Abdol-Karim Barshid.

Amal Farhat

Photo Exhibition in Moscow in Solidarity with Syria

A photo exhibition on Syria was recently held in Moscow in expression of solidarity with the Syrian people. The event was organized by the Russian committee for Solidarity with Syrian people and the Russian Journalists' Union Photo Centre

Sergi Baburin, Chairman of the Russian Committee for Solidarity with the Syrian People said he is deeply concerned over the critical situation in Syria due to the war waged by foreign-backed armed terrorists groups against the country.

He pointed out that holding the exhibition came to express Russia's solidarity with the Syrian people and with the journalists who confront the armed terrorists groups' savage acts with their writings.

For his part, Deputy Chairman of the Russian Committee for Solidarity with the Syrian people Oleig Fermin said the situation in Syria is very worrying, necessitating more solidarity to enable Syria to withstand the current crisis and protect innocent Syrians.

He called for activating efforts to provide humanitarian assistance to the friendly people of Syria to help them confront the unjust economic siege and sanctions imposed by the West on their country.

The Deputy Chairman referred to the serious damages, destruction and losses caused to the country's schools, hospitals, factories and holy places, because of the terrorists' attacks.

For his part, Dr, Riad Hadadd, the Syrian Ambassador to Russia, said holding the exhibition in Moscow consolidates the strong and deep relation of cooperation and coordination between the two friendly countries.

Haddad, who thanked the exhibition's organizing parties for holding this event, pointed out that the exhibition depicts the secure and stable situation which prevailed in Syria before the current circumstances.

He condemned the terrorists' acts of killing, destruction and kidnapping in addition to the crimes of assassinating journalists.

Director of the Russian journalists Union Photo Centre Valeri Ivanovit condemned the threats made by the terrorists against the Russian, Ukrainian and Iranian citizens in Syria, adding that the displayed photos depict Syria' beautiful geographical and social nature on the one hand, and the hostile acts perpetrated by the terrorists groups against this wonderful country on the other.

Rawaa Ghanam