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In fact, Saddikis appeal for a universal theatre at the outset oft he play is part of
a strategy of resistance and confirmation of Moroccan theatrical difference.
Saddiki makes a a space for a new theatrical tradition in Morocco that retrieves l
bsat as an old Morrocan performance behavior that incorporates much oft he
halqas performative techniques, and transposes it not only into the present but
also to the stage building. Here, Saddikis negotiation of lbsat is genuiely
hybridized with other universal theatrical traditions. He invokes international
theatrical traditions, bringing to the fore a universal theatrical genealogy into
which he incorporates his present practice of lbsat, which is based on action and
narrration.
4. Wie bewertet der Autor die Verlagerung der Al-halqa in
Theatergebude?
The autors main objectives in this article are highlighting al-halqas theatricality
as a performance space and critizising its transposition to the stage building, a
transposition that has intensified al-halqas hybridity and performative yet ironic
double effects.
The transpostion of al-halqa to a theatre bulding reveals an unexamined
indecison. Such indecicion i spart oft he predicamente oft he Moroccan
postcolinal subject, a subject who finds himm/herself constructed at the
crosssroads of differnt narratives: the Western and the local.
Postcolonial theatre has boldly come to terms with the hybrid condition oft he
Moroccan subject who cannot exist oftherwise, due to the traumatic wounds that
were inflicted by the colonial enterprise.
The transfer of al-halqa to the stage constitues a positve oscillation between
opposites insofar as it bridges the gap of bipolar opposties by arrying them.
Saddiki and Sghits theatres exemplify this marriage between East and West,
past and present, traditional and modern.
5. Wie bewertet der Autor davon ausgehend den kulturell hybriden
Status des marokkanischen Theaters?
The autor criticizes that the western theatre is seen as the unique model that
should be imitated and reproduced in other words: there is no other theatre but
the Western one. However, despite the illusionn of boundedness, historically,
theatre evolves through mimetic borrowings and appropriations cultural
exchanges. There is no theatre in isolation. The Western theatre itself is a hybrid
model. Furthermore, theatrical art is a hybrid medium that necessiates a
transformation of somethin written into an acoustic and visual world.
The result is a third space, a hybrid construct that fuses Self and Other, East and
West, popular and mmodern, and all other bipolar opposites that the hybridized
mind imagines to have existed before.
The Moroccan theatre today is construed within a liminal space, on the borderline
between different tropes. It cannot exist otherwise,, for it juxtaposes differen
heterogeneous enities only to emerge as a hybrid drama that is spaaced between
East and West. It is a fusion of Western theatrical tradition and the local Arabic
performance traditions. The hybrid nature of Moroccan theatre is manifested in
the very transporsition oft he halqa from Jema el-fna to modern theatre buildings.
Hybridity characterizes the postcolonial conditionn of Moroccann theatre today.
Moroccan theatre is a hybrid theatre, par excellence. It is no longer an imitation
oft he western theatre, or a pre-theatrical form. Instead it is a new hybidized
theatrical tradition that is obased on transposition of all that ued tob e conceived
o fas pre-theatr tot he theatre building.