Friday, 31 January 2014
Friday, 24 January 2014
Written by Allal EL Alaoui
Acting in Morocco is not new .It is related to Halka; actors gathering people around them usually in a cirle and you can listen to this kind of stories right in the heart of Marrakech ; a place called Jamaa El Fna square .Now,some Moroccan towns like Mekness invite the same Halkas just to seduce consumers because it is about buying goods and at the same time having pleasure.
Right after the independance of Morocco, some Moroccan students went to France to study theatre just like Taib Essadiki,Chafik Shimi and more others . Others prefered to go to Egypt or Syria because of patriotic or nationalistic reasons .Any way, some forms of theatre have been known in Morocco ;although in general Arabs already refused theatre in the past because its dareness to blasphemy .
After Cairo ;Demascus,and Baghdad and there comes Rabat creating a new establishmement called ISADAC, a french word meaning ; institure of theatre of dramatic studies which is apparently training, and urges to study and research in all areas of theater. It is created by decree No. 2.83.706 of 18 January 1985, under the Ministry of culture in Morocco.
One of its objectives is to train professional actors and introduce them to theatre and cinema world.yet,ironically its actors are lost in cafés of major towns in Morocco just like Café Terrace in Rabat ; which is itself becoming a commercial café meeting .There are other places that actors and actresses usually meet and discuss the market of jobs just like La Ruche, Halinka, Triangle Rouge in Rabat,la comédie in Fès and café de la France in Casablanca .
According to Hicham El Wali and Said Ait Baja, recently interviewed in Al Oula TV,they state that the position of actors in Morocco is critically bad and it is getting worse, because first the jobs are findless and even if there is a job , excecutif producers pay them badly (see the famous 2M series called – AL Majdoub - in which Hicham EL Wali has worked in and appealled to tribunal the producer himself .The production company of Al Majdoub has declared its fraud and it can not really pay all actors . In the past, ISADAC was a seducing place for young comers .However now , it really becomes empty proscenium arch ; producing only unemployed actors,states Said Ait Baja .ISADAC achieved nearly 1000 adherents before and in 2012 only 350 which is a considerable decrease in number.
Still , girls in the world of theatre namely in movies are confronting sexual abuse not denying that some of them accept the offer willingly just to get a part in a movie or theatre .Some students in ISADAC convey strange behaviours of ISADAC teachers as to ask them for sex ,but this fact is not yet confirmed .
Either what Mahmoud Frites has recently conveyed about the decline of Art in Morocco or the melancoly of actors already lost in pubs, expensive cafés and hotels ,states Khalid Didane in his recent play called – Hawlasa – Acting is still a passion for many and Moroccan actors are going through painful moments only theatre and cinema-goers know this secret. In some way,Moroccan actor becomes more melancolic than Hamlet who confronts not only a « corrupt king » but too many nasty nature elements.
The ISADAC
Admission to the Higher Institute of Dramatic Art and Cultural Animation is done by competition open to candidates aged 17 to 23 years, holders of bachelor of secondary education or a recognized equivalent.
Students of foreign nationals may be admitted, subject to availability, on the same terms.
Their applications must reach the direction of ISADAC through the competent department of the Ministry of Culture and Foreign Affairs of their countries
FONCTIONS
Institut Supérieur d'Art Dramatique et d'Animation Culturelle est une école nationale spécialisée dans la formation des cadres supérieurs dans les métiers du théâtre :
Formation de base
Interprétation et jeu : Théâtre, Télévision et cinéma
Formation en option
Mise en scène, dramaturgie et administration théâtrale
Formation de base :
- Scénographie, décor et technique de la scène .
Formation en option :
- Marionnettes, costumes, éclairage et son
Formation continue
Perfectionnement et spécialisation des professionnels des arts du spectacl
« Suit the action to the word, the word to the action, with this special observance, that you o'erstep not the modesty of nature. For anything so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature, to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure »
Shakespeare
Thursday, 23 January 2014
Tuesday, 21 January 2014
Saturday, 18 January 2014
Friday, 17 January 2014
By Ali Karama
Cinebassamat is back again with new 2014 shortfilms from all over Moroccan , Arabic and African countries . Cinebassamat is speahead by Abdellah Haimer whose vision about cinema is more plastical than technical that is why his film festival awards the winner as Mohammed El Kacimi prize . Now Abdou is challenging media and cinema events in Morocco by annoucing its 6Th Film Festival of Cinebassamat in Rabat and according to Abdellah this festival will take place in the 7 Art cinema in Rabat in the 6 Th of April until The 10th of it 2014.
The full program will be published soon
Monday, 13 January 2014
That was somewhere in Mekness where i happened to meet for the second time Hamid Bennani, a decent man whose quite and yet beautiful soul lurks among Meknassy streets.Hamid is a Moroccan filmmaker who has been influenced by spanish surrealist film director Louis Bunuel .Thanks to Hamid , Moroccan cinema knew its first path to professionnalism by realizing his remarquable long featured movie called - Wechma - along with Ahmed Bouanani , Mohamed Abderrahman Tazi and Mohamed Sekkat.
In 1958,Hamid Bennani enjoys training in drama and creative workshop and writing organized by the Ministry of Youth and Sports in Morocco. He made his high school to colleges and Poeymirau Moulay Ismail , before joining the Faculty of Letters of Rabat where he obtained a degree in philosophy in 1964.
In 1965, he studied film at the Institute of Film Studies ( IDHEC ) currently Femis , which he won in 1967, " Production and Economy, Production " section. He was part of another promotion of Moroccan filmmakers Moumen Smihi . While studying in Rabat and Paris , he attended seminars by philosophers Jacques Derrida, Roland Barthes and Paul Ricoeur .
In 1968 , he joined the Moroccan Radio and Television RTM where he held the position of head of department of external relations. He resigned from RTM in 1970 and founded the production company " Sigma 3 " in collaboration with Bouanani Ahmed Mohamed Abderrahman Tazi and Mohamed Sekkat. This is the company that produced the same year his first feature film " Wechma " (Traces ) .
This is the film that , upon completion , enjoyed a reputation worldwild , thanks to mini circuits film clubs under the auspices of the Moroccan Federation of Film Societies (HSFC ) who participated to Besides the financing of the film, as well as abroad where he won numerous awards in film festivals. Criticism welcomes with enthusiasm and it recognizes a hitherto unsurpassed quality . It is widely considered the founder of the Moroccan cinema film. Films previously made by Moroccan filmmakers , including "Beating to live," "When mature dates " and " Spring Sun " in comparison with " Wechma " are reproductions , sometimes lazy , stereotypes known to all .
" Wechma " is a film in the heavy atmosphere that is more interested in the internal struggles of the characters and their actions. This was an important step in the evolution of Moroccan cinema since paved the way for new storytelling techniques explored by Moumen Smihi , and Mustapha Ahmed Bouanani and Derkaoui . Despite its critical success, the film enjoyed only a short commercial release in Casablanca ( Morocco ) and it was not until 1980 that must be projected into the " 7th Art " in Rabat. However, he was presented several times in the circuits of film clubs across the cities of Morocco.
He had to wait almost twenty years before turning his second feature film , "The prayer of the absent ", the original title was " The Secrets of the Milky Way ." The film is adapted from the very famous novel writer Tahar Ben Jelloun "The prayer of the absent ." Unfortunately, this last film did not benefit from the same esteem reserved for the previous film. Both factors explain this critical public and semi-failure .
He wanted to instill in his film an international dimension to the way of Luis Buñuel, he is his follower , hence the original title of the film. Because it remains true Moroccan specialist Buñuel which he devoted many studies published by the short-lived magazine " Cinema 3 ".
However Hamid Benani claims over Sartrean influence.
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