Syrian drama has crossed a wave of success that has ended

Yasser Al-Bahr: The Joint Drama Provides Competitive Entertainment (Celine Dagher)

For many years, Syrian drama could not create a new generation of stars, as the actors who acquired their stature before 2011 starred, even if they did not fit their ages and descriptions. However, after digital platforms opened up a new market for drama, some young names were able to find their way to stars and fame, such as Yasser Al-Bahr, who has participated in local Syrian series in recent years, before taking on the role of the anti- hero in the series “8 Days” months ago.

In an interview that Al-Araby Al-Jadeed conducted with Al-Bahar, I asked him about the differences between local and joint Syrian dramas, and he said that “the joint drama production companies have a clear work plan, and they take the range they produce is more serious, so we do not find in them the haphazard work environment that prevails in local ranges. ” The working hours in the joint drama are more and more effective, everyone in the team knows their tasks well. So there is no person on the set if he has no work to do. The presence of a large number of people on the set in vain influences the focus of the actors and makes them feel that the work is not serious.My experience with the Lebanese production company was different and more serious, and the difference lies in the main purpose of the work, regardless of the results The level of local drama, so it works in a competitive atmosphere, presenting its series for the purpose of profit, but it is also interested in providing good, interesting and entertaining material that can compete, which is completely lacking in Syrian artistic production.

Randomness controls local Syrian production in all its details

Al-Bahr added: “Only caring for financial gain in local drama makes the artwork an achievement, and this is reflected in the director’s personality and his approach to work. I can explain the difference by what happened to me in my new experience with director Kamel Abu Zekry, who seemed concerned and used all her energy in The Work, while auditioning to take part in a small role, a role that might be played in Syria by one from the decorators, one of the photography technicians, or any person on the set. The director oversaw everything. In Syria, the situation is completely different. For example, I once suggested to one of the directors in Syria that we replay a scene. because I felt it was possible to produce a better result.Quickly, even if he is in. Virtually everything is done randomly in local dramas, including accessories and clothes, the actor often wears any existing item, does not practice character in it, or use his own clothes, I have for example the same dress in four use range, because the production of public sector M is only for earn, and in private companies there are no standards, it is possible that anyone who have money or want money white will do the production, and everything is supervised by unqualified employees. ”

Speaking about the reasons why Syrian drama entered a dark tunnel, many mourning lost glory and nostalgia for the so-called golden drama, Al-Bahr said: “Tightening the screws on film in Syria and trying to do so. to compensate through drama, it has at one time gained additional value, but It is not the task of television to present drama of weight and cultural value, as is the case in some of the works published between 2000 and 2010 offered, knowing that during the same period, many bad series were presented, as the number of really good series was no more than two or three each year, among a large number of series, up to 40 or 50. After the war, television drama returned to its normal size in Syria, which offered limited or poor works, which caused a state of nostalgia and stood on the ruins with which we live today.

Prior to 2010, Syrian drama contributed to the creation of stars at the Arab level, most of whom were graduates of the Higher Institute of Dramatic Arts. This is no longer the case today, as graduates of the Theater Institute in Syria have reduced their chances of starring in recent years, and the limits of their fame have stopped at the threshold of the local audience when they are reached.

Al-Bahr said: “I do not agree with the prevailing ideas of the young generation of actors, and sometimes I clash with this generation, disappointed, in the dialogues and conversations that take place between us. They realize that the story is not intentional. and that it is merely related to the nature of this original drama that went through and ended in a wave of success. ” He added, “The disappointment of this generation has many reasons, one of which is different standards of time due to technological advances. In the 1990s and early 2000s, pictures of stars were sold in bookstores and hung in bedrooms on the cupboard or next door. the bed. Today, stars no longer live in fantasy. So the audience made their photos available on cell phones, and they could view their diaries through their accounts on social networking sites. This led to a narrowing of the imaginary margin in the relationship between the audience and the stars, to remove the mystery surrounding the personality of the star, and thus its magic disappears. In fact, the presence of platforms like YouTube and Instagram And Tik Tok did not make the issue of the star industry related to television. as it was before, local drama in this era, whose main feature is insignificance, and in which entertainment products are without meaningful content, has been lost and is no longer capable of producing competitive work and is no longer As far as joint dramas are concerned. formulates their works according to the form imposed by fashion in each period, and in the last period we find that emotional police series dominate, noting that some experiences in joint dramas try to Enter the social drama market, which may be about reflect, because it is closer to the life of the viewer. ”

Local drama has been lost and is no longer able to present competitive works.When it comes to collective drama, it formulates its works according to the form that fashion imposes in each period.

About the reasons that have led to the graduates’ chances of success in local drama declining in recent years, after the Syrian drama before the war depended on many of the boys of the Higher Institute of Dramatic Arts, and most of the stars of the first class were graduates, Yasser Al-Bahr said: “There are several reasons why the graduates attended. is of course that their presence in local dramas will decrease.In the work it offers, it does not give enough space to graduates, but rather prefers not to dedicate stars whose names may become more important than the name of the company, so all on the same level, and to create an atmosphere of competition between the representatives to obtain their satisfaction, and to have many similar options without being There are big differences between them on a financial level, and one of the reasons is also the decline in the level of the Higher Institute of Dramatic Arts itself, which lost a large part of its good teaching staff, and which coincided with the opening of private institutes and universities for the teaching of acting, which did not have any standards. Some of them look catastrophic, for example, there is an institute in Damascus that has announced a 3-week course for rehabilitation of actors, claiming that it reduces and strengthens the entire curriculum of the institute! These institutes attract young people because they promise their jobs in drama, and achieve this with small roles. As far as the theater institute is concerned, it does not care at all about placing its graduates in the labor market. ”

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