The Book Authority publishes the “Egyptian Shadow Theater” by Nabil Bahgat

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Recently published by the General Egyptian Book Organization as part of the series Popular Culture 2022, “The Egyptian Shadow Theater Book of Jafar the Dancer to Now” by Dr. Nabil Bahgat, one of the specialists in this art. He has presented to the Shadow Theater more than thirty works presented in a large number of countries. A number of shadow puppet exhibitions in Paris, New York, Istanbul, Kuwait, and others, and he has been trying for some time to revive this art as part of his initiative to revive the art of aragos and shadow puppetry for cultural and artistic purposes. life.

The book is divided into three chapters and a number of appendices. The first chapter is entitled Terminology, Components and Philosophy, the second chapter deals with influences and the structure of the text, and the three chapters deal with the development of shadow theater techniques and a number of appendices including the chapters of Hasan Khanufa, a number of player licenses at the end of the nineteenth century, and a number of photographs.Shadow Shadow Theater, since its inception, deals with a number of issues affecting graphics sign. line for this art since the first sources that have referred to it so far through the artistry, production materials, forms, places of presentation, the form of the theater and its texts, and the comparison between the last texts we have reached and the oldest texts that we know and the problems of the term and where it comes from And its philosophy and problems with power and the development of its techniques, and the study sought to follow the shadow fiction artists and their performances, as well as the developments that took place in the shadow-shadow theater and its puppets also Babat Ibn Daniel, where the shadow phantom moved from the Far East and settled in Cairo and from there moved to all parts of the world.

As for the term fantasy, the book explains that it describes a kind of representational display that is completely different from the well-known shadow fantasy, and it evolved from the term story, which was used for a purpose close to it, and the term shadow fantasy established with its connotation now known to us from the eleventh century AD.

The reference book follows the names of some shadow artists, and some of them are listed in a historical order. Jafar the Dancer came in the fifth century AH, Ibn Daniel in the seventh century AH, Al-Dhahabi and his son Mohammed in the eighth century AH, Ibn Soudun in the ninth century AH, Daoud Al-Attar Al-Manawi and Ali Nakhleh. And Sheikh Saud in the eleventh century AH, Hassan Al-Qashash and Darwish Al-Qashash at the beginning of the fourteenth century AH, Muhammad Abu Al-Rus, Mahmoud Ali Saleh and Mustafa Al-Rubi at the end of the fourteenth century AH, and Ahmed Al-Koumi and Al-Fasakhani at the beginning of the fifteenth century AH, and Hassan Khanoufah Babatas took from them. ” Al. -Sayyad, “Al-Asaker” and “Ilm and Ta’eer”, and Khnufa died in 2004 AD.

The study deals with the shape of dolls and the theater of shadow shadows, as it has taken on a number of shapes, some of which are fixed and others are movable. It has a light in the back.

Shadow dolls are made of transparent leather and the player colors them in. They rely on the repetition of decorative units to get their connotations through a holistic concept of the shape of the doll. With the decorative and aesthetic details of the dolls.

The book follows the texts of the shadow imagination, where the Arabic shadow imagination knew a number of chapters that did not go further: “The Old Lighthouse”, “Taif Al-Khayal”, “Wonderful and Strange”, “The Lover”, “The Lost Orphan”, and “Sheikh Saleh” and his slave girl The Hidden Secret “,” The War of the Ajam “,” Al-Manara Al-Haditha “,” Science and Ta’adeer “,” The Crocodile “and Al-Shouni”, “Sheikh Sumaisem”, “Abu Jaafar and the Coffee”, and “Opposition of Toman Bay”, and “The Ruler of Khayal Manadamah Umm Mujir”, “The Improvised Elephant”, “The Dove” , “Theatro and the Engineer”, “The Mad Worker”, “Al-Awlani”, “Al-Gharf”, “Ajayil” and “Al-Hajjit” And “The Naval Battle between the Nubians and the Persians,” “The Sudan -war, “” The Incident of Dates and Watermelons, “and” My Good Thoughts and the Composition. “

The book stands by studying the latest oral texts we have reached, which are the chapters of Hasan Khanufa, in three chapters: “Al-Sayyad” which is a modified form of “The Crocodile”, and “Science and Tactics “, and a new chapter for which we found no reference in the various references is” Al-Asakir “and the chapters were collected.The three at the end of the book compare it with the texts of Ibn Daniel, where the initiation was to give the legitimacy of writing by answering the questioner’s question and the lyrical beginning that goes directly to the audience and the end associated with repentance, regret and forgiveness based on the act of death in the spectrum of imagination and the orphan and the lost orphan, and mentions Hajj as a purpose and destination in a spectrum Imagination, strangeness and strangeness are some of the most basic features of Ibn Daniel’s text.

The reader of Ibn Daniel’s texts indicates from the first glance that the texts overlap as he moves from rhetoric to poetry with his different objectives to the method of standing in some places The influence, rather the shepherd believes that the maqamah the entered the theater by means of the shadow’s imagination. Consequently, the overlap between the story / imagination / the maqama formed the texts of Ibn Daniel. The shadow’s imagination dealt with topics related to political and social criticism and the relationship with others, and some sexual acts were offered for the purpose of entertainment. And entertainment. The “Al-Sayyad” section also had a development in form and content, in which Khenoufa mixed all the sections that take hunting as their subject: “Al-Awlani”, “Al-Ajaab” and “The Crocodile” , which reveals its contents about societal corruption and man’s struggle against power and nature together and lack of sense Man, so everyone who comes to help him in his ordeal asks for a financial return, which indicates that corruption permeates all levels , beginning with the legislature and the executive, down to the members of society itself.Haditha, written after the First World War and influenced in its subject by the concepts of soldiers, and is very similar to the “Al-Aragoz in the Army “panel performed by artist Salah Al-Masry. For the love story while retaining the names, but it was a group of verbal and kinesthetic tigers as a whole.

The chapters of Hasan Khanufa also consist of an initiation which is music accompanied by a stick dance for the presenter, then supplication, to seek forgiveness and to pray for the Prophet, and to welcome the audience, and so has he did not deviate completely from Daniel. initiation The other character quarrels, and this scene is a basic structure in the gates of Hasan Khanufa, and a prelude to the main event inside the gate. Joke, pun, etc.

Hasan Khanufa suggested in his characters what is human, what is animal and what is lifeless, and he did not try to highlight it and did not make them real dimensions, but rather made them merely means to create humor .Aggressiveness was an essential feature of it in a way that revealed its influence in the formulation of this ending in the way in which the Aragoz ends his tiger And only the conclusion, in contrast to the Daniel chapter, in which the individual voice the text of the port represented. , as it was dominated by the prose character, suggesting that Knofa was mainly affected by the forms of modern drama in his reliance on dialogue, while its presentation lacked the aesthetic aspect from a formative point of view.

  • The book also deals with the formation of the philosophy of art and its strategies through evasion / maneuvering, concealment, flexibility, adherence to reality, confidentiality, management, repetition, accuracy, convenience and pleasure.

The book focuses on the arts that influenced and shaped the shadow imagination, as shadow-shadow designs were influenced by the neighboring arts of miniature, architecture and others, and carried its philosophy in determining the relationship between light and shadow, which is the basis of shadow-shadow art. We are sure of the possibility of designing miniatures often as dolls, and we can compare them by the picture, where we notice the similarity in the design of the face and eyes, the mechanism to form areas of light and shadow, and the use of dark lines that form areas of decorations and geometric elements, contrary to nature, tendency and simplification, as well as the contemplator of dolls, specific to a group. Cala “alludes to the use of the farm as one of the constituent elements of the dolls.

The book provides a picture of the development of the shadow imagination over the past fifty years, to which successive generations and various experiments have contributed, which the book was eager to prove its texts.

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