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Production, Reception and Confessionalism
Series: Theater
Artistic Articulations of Borders and Collectivity from Lebanon and Palestine
Series: TanzScripte, 52

. 151. Nothing to Declare.  Dictaphone Group. Fig. 8.—p. 165. Nothing to Declare, field research, Lebanon, 2013.  Dictaphone Group. Fig. 9.—p. 166. Nothing to Declare, field research, Lebanon, 2013.  Dictaphone Group.


Theater in Lebanon Tarek Salloukh studied drama and theater arts at the Leb an ese University in Beirut. As actor and director, he performed in the theaters of the Lebanese capital for many years. He concluded his studies with a Ph.D. at the University of Konstanz in South Germa- ny, where he now lives. TAREK SALLOUKH Theater in Lebanon. Production, Reception, and Confessionalism [transcript] Bibliographie information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche N ationalbibliografie; detailed

trivial changes to their esthetics. As is the case in real life, theater presents a field of different types of interpreta- tions especially in Lebanon. A multifaceted social structure and the civil war are two factors of in- tluence on theater. During the Lebanese civil war (I 975-1990), Beirut was divided into two areas separated by a demolished downtown with in- ternal frontiers sustained by snipers' bullets and militias' bombs. The outcome of this situation was a demographic division of the Christian 11 THEATER IN LEBANON and Moslempopulations respectively

network of temporary collaborators in Lebanon. However, with this project, El Khoury and Saksouk open up their collaborative structure by integrating artist Petra Serhal2 in a different capacity in the process of making and performing the work: “In this project, we have kind of blurred the lines between researcher, performer, and producer. We were all doing everything together, and just at different points in the project, one was taking more the lead in one discipline more than the other, but we were doing the work collectively. It was an experiment. Because

research. »On Top of it,« fawq d-dakki (Example A) The first thing we notice about the play is its popularity. The number of spectators reached sometimes 3000 spectators for the one show, which is quite high with respect to other plays. It belongs, hence, to the »Popular Theater,« 1 whose success criteria are the high number of audience. The play is not presented in a permanent theater house. It is tuming from one place to the other, mainly in South Lebanon, where it finds the most audience. The shows did not take place every night, but they were organized and

. Basha, Abido. Bayt n-nar: az-zaman tja 'i '.fi l-masraiJ l-lubnaniyy. Lon- don: Riyad er-Rayes, 1995. Basha, Abido. Kitab r-rawiyy: siyar. Beirut: Dar t-tanwir, 1995. Basha, Abido. Mamalik min basab: 'al-masrah l-lubaniyy 'inda masarff l- 'a{f 1-Jiilij. London: Riyad er-Rayes, 1999. Beck, Lewis White. The Actor and the Spectator. New Haven: Yale U. Press, 1975. Beckermann, Bernard. Dynamics of Drama. New York: Alfred A. Knopf, 1970. Benjamin, Walter. Understanding Brecht. London: New Left Books, 1973. 355 THEATER IN LEBANON Bennett, Susan. Theatre

Table of Contents Acknowledgments | 11 RESILIENT BODIES, RESIDUAL EFFECTS. ARTISTIC ARTICULATIONS OF BORDERS AND COLLECTIVITY FROM LEBANON AND PALESTINE Chapter 1 What does it take to cross a border? And what does it take to belong? Introduction | 17 1.1 Research Questions and Hypotheses | 18 Methodology | 20 Literature Review and Relevance of the Study | 21 Structure of the Study | 25 1.2 Body-based Artistic Practices from Lebanon and Palestine. Contextual Remarks | 27 Working with Bodies: Conditions of Creation and Production | 28

remained in the original Arabic language in Appendix C. The abstraction and categorizing were effected from the Arabic language; therefore, the abstraction when compared to the translation can contain some impurities. 45 THEATER IN LEBANON Confessionalism: a major »sphere of discord« Confessionalism, a characteristic impressing the modern image of Leba- non, has its roots in the remote past of the country. A refuge for perse- cuted communities, Lebanon, as shown in the section »Historical Over- view«, is composed of a mixture of communities refusing to give up