Drama critic Al-Sir Al-Sayed: new drama lacks artistic and societal sensitivity

He called for Moderation.

Drama critic Al-Sir Al-Sayed: new drama lacks artistic and societal sensitivity

During Al Inqaz regime if the actress, was shocked by car, is better than take off her scarf

The youth presented bold actions, and I support their plan, and these are my notices.

Sudan Events: Magda Hassan

Theater critic Al-Sir Al-Sayed, and director of drama department at TV during the administration of the late Al-Tayeb Mustafa, the period that witnessed the largest production of drama, which was also criticized for the strictness with which the actresses appeared, which distanced it from realism in the eyes of some.

I said to Al Sir Al Sayed that the new series now introduce the bedroom into a more realistic scene than your time, when the wife was veiled in the room with her husband.
Although it was an attempt to persuade, the scene was not accepted by many, even though they accepted it from a foreign drama.
What is the solution? As usual, Al-Sir Al-Sayed is present at the phase of the issue, as he thinks several transformations in the Sudanese’s relation with TV drama.
The first transformation, it began after the broadcast of the Egyptian series in the mid of 1980s , before that, there was no comparative drama, so there was a strong attraction and intense interaction with Sudanese drama.
Since the appearance of the Egyptian series and its accumulation, and after it the Syrian one, the Sudanese began to compare, and here Al-Sir Al-Sayed speaks about non-specialists in drama: They were look like what was happening in Egyptian drama.
This does not happen in Sudanese, focusing on the home, particularly the bedroom, how a woman moves in her home with her husband, and this is the second transformation, after rescue.
The rescue phase that he witnessed, he said, imposed to put on scarf and long clothing, and social distance between women and men: there was no close contact, there was no holding of hands, and this made the idea of ​​comparison even greater.
At least in the period before the rescue, clothing was normal, but the idea of ​​a sleeping bed did not exist in the first place compared to now.
The intensification began to appear with the rescue of a veiled woman in the bedroom.
Not only that, but even if she was hit by a vehicle that was supposed to fall without expecting it, there would actually be problems.

Al-Sir Al-Sayedd is dating to the drama by waves, as he calls what is happening the last wave: I called it the third wave in drama, with the new youth generations, and it appeared with the series (Asham), or I documented it with him, and after that it was followed by the series (Si
Way of Loss), (Paths of Return), and until now (Obstacle).
These series, the actors of which are a group of youth, a group of directors and authors, with some assistance from the mainstream drama, and I believe that they presented bold works.
I presented episodes about them in my program (Viewing) and wrote about them, and I am one of the defenders of this experience very seriously.
They presented many experiences and touched on sensitive issues. It is important in society and bold, and because they display their productions on YouTube, their freedoms are wider.
Following this wave and this trend created a number of observations by Al-Sir Al-Sayed: But among my observations there are what are called traditions for any work, other than its own traditions.
Directing and acting. There are traditions of a societal nature, meaning drama from your society is supposed to reflect your culture in all its forms.
Therefore, drama is not ideas and contents. Only, but ideas, contents and traditions. When we watch an Egyptian series, we see the customs of the Egyptians, even the way they eat, and the difference between urban and rural food, and they discuss an issue, for example, around the table. The scene is a reflection of this conversation, in reference to the introduction of traditions into the scene. In the same context, it is seen that the bedrooms are not taken into account. Because it is bold or not bold, the attitude towards it is due to lack of experience and sensitivity to knowledge of societal culture: The other matter is the ability of art to reduce.
These people come with a scene that is almost entirely real, and the drama is not like this in the end. These are all experiments.
Even if we bring a veiled woman in the bedroom, it may be closer.
For the work of art, because in the end it is a representation that indicates that this woman is the wife of the man she sees while they are acting, and it is not real. She could be veiled and veiled.
There is no dramatic distinction. This is what people should know. As long as there is no dramatic distinction between extremism here and there, a middle area must be reached that does not arouse people’s anger, such as What is happening now is that many people are denouncing the emergence of the new method of drama in bedrooms.
In general, the issue is not particularly dangerous. It is an artistic topic that we discuss within the framework of artistic work, but the bedroom method in new drama is a method that lacks artistic sensitivity, not to mention societal sensitivity.
It requires different treatments, perhaps because of the experience of these people.
The directors did not have enough interaction because the drama establishes its traditions.
The aspect of the veiled woman is also not a big problem. It should not cause a stir if we look at it from the artistic and societal and social perspectives.