Aziz Al-Jabali.. From the first hug with the plank to “Escape”

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He is an actor who has a lot of spontaneity and honesty in him, switches smoothly between dramatic and comic situations, plays a role that does not leave his mark, is good at adapting his body and expressions on stage and in front of the camera in cinema and television.

Between theater, cinema, soap operas and serials, his acting experience varied, and he adapted his body, expressions and voice to mimic characters attached to memory, especially with the role of “Wajdi” in the series Nuba by Abdel Hamid Bushnak.

He is Aziz Al-Jabali, who improves the movement of the threads of the acting and interrogates his inner self, so that his characters appear honest, realistic and transparent, so that they appear to be real, as if they are related to recording or documentary moments, which is reflected in the characters he plays on his knees in his play “Escape”.

The play “Evasion” starring Aziz Al-Jabali, directed by Hala Ayyad and produced by “Theatre”. In it, Aziz Al-Jabali relies on science fiction to question the concept of happiness as he discovers a new planet similar to Earth where there is no place for dullness and calcification.

And “Escape” is not just a theatrical performance, it is a philosophy, a dream and the son of the figure of Aziz Al-Jabali, whose features were during a difficult period in his life in which he completed his studies and a prisoner of the void into which existential questions have deepened and he begins to hoard them and search for meanings for the concept of happiness.

From this point of view, it was the first core of the play “Herba”, which he toured in a number of festivals, including the International Hammamet Festival, and the writing of his text, which was surrounded by various feelings and variables mainly related with the personality of Aziz Al-Jabali, who longs for freedom and seeks renewal.

Before going into the details of the play, Al-Jabali spoke to Facts Online about his beginnings in the theater and his love for acting, which he did not take seriously at first, but he lived with him and the day subsequently grew into him She urged him to take theater lessons in the “Teatro” space.

Eleven years ago was the first training session with the playwright Nofal Azara, a lesson he remembers saying that he discovered the love of his life and from the first moment he embraced theater, it became an addiction that made him pursued by watching plays inside and outside the theater.

The passion for acting is growing within Aziz Al-Jabali, and his path is clear, but it is better for him to complete his studies and obtain a Bachelor’s Degree in International Trade and a Master’s Degree in Marketing.

Among the things stuck in his memory is his joy in being paid for acting, since he believes that the income of art lies in those feelings that sweep the artist of ecstasy and liberation, before he enters the maelstrom of work in his specialty enter and suffer routine and from the sense of imprisonment, oppression and moral death.

From this difficult situation that led to an end to the work that does not resemble the weaving of the first features of his play “Herba” in the year two thousand and sixteen, he wrote a lot and then with fellow pioneers communicated Hala Ayyad, Abdel Hamid Bushnak and Yasmine Al-Dimasi before he got an opportunity from the playwright Tawfiq Al-Jabali to be present after a period of six months for the performance Work on the Teatro kneeling.

It was agreed that he would have one performance if Tawfiq al-Jabali did not like it, the matter would end at that point, and the play was performed at that time, but his ideas did not brew as al-Jabali wanted , and he didn’t get excited about its presentation and didn’t tire of it until he returned to nostalgia because it coincided with his fame stemming from the Nuba series and from the movie Dashra to re-dig it and some of its details not change

He, according to Al-Jabali’s hadith, ran away from his identity, but he neglected it and did not pay enough attention to it until he turned to it again and completed the features of the imperfect dream and returned to his play which took place last Ramadan in the presence of a number of festival directors because of his desire to get the proposal from them to attend the festivals and it was the summer tour.

And this renewed and changeable actor between characters and roles does not want to turn the page of “escape” to pass to another page of work, unless he has stepped on his feet in several directions, and he returns to the stage after starved for it by the Corona pandemic.

With this old theater work that is renewed from stage to stage, he tries to quench his thirst to play with new characters and deep writing that carries more than one interpretation and an artistic presentation that varies between the exterior that is ridiculous and the interior that is . painful.

According to Jebali’s talk, the play imitates Tunisian society, as it is characterized by a sense of humor, despite the harshness and pain that reality carries, in a way that is not without challenges and interpretation.

The purpose of the play is to travel to other worlds away from the logic of flatness and trivialization, and in each performance it inspires a new spirit and spreads attention among the characters without balance, so that the performances are new and not reproduced and to satisfy his character who fears boredom and fears the idea of ​​repetition and cloning.

And because he does not accept to be locked in any idea or project of the routine, he made a decision to turn the page of “Escape” to his tour in the summer festivals and a tour that responds to the demand of the Tunisian public meets. and outside the homeland, to launch a new theater project.

This decision is the result of the idea that he does not want to exhaust himself and does not want to lose the passion for acting and for him it becomes a mere repetition without a soul, and he also wants to weave the details of a collective experience in which he shares the scenes with other actors because he loves collective theatre.

A journey in the folds of the theater, an “escape” from everything to the stage, would not have seen the light of day without the support of his family and friends Hala Ayyad, Abdel Hamid Bushnak and Yasmine Al Dimassi who believed in him and made the dream and the difficult easy and illuminated the dark corners with him.

Speaking of the support around him, his tone changes, charged with a stream of gratitude, as he describes the pride in the eyes of his mother, father and brother that drives him to believe more and more in himself and in his ability. to do so much in the art world as long as he listens to that voice within him and as long as he makes their pride his compass.

And about his self-satisfaction at this stage of his career, he does not hide that he is hard on himself in this aspect, especially when it comes to success, as it increases his responsibility and raises the ceiling high, but he is satisfied with himself with sixty percent, as he still has many dreams of achieving in Tunisia, said on the limit.

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