Actor mask between empathy and opportunism

Marwan Yassin Al-Dulaimi

The actor, as an artistic medium, with his physical and vocal techniques of expression and suggestion, while exercising his creative act on stage and in front of the camera, within the framework of his decisive role based on creating and creating the characters what he presents will strengthen himself with respect and appreciation that keeps him to maintain the clarity of his emotional impact on the audience. This is achieved for him if he is not highly professional in his work, and is far from everything that the deterioration of his record can affect success in his profession, and the most important thing in this context is that he must be very disciplined and careful to confirm his presence as a professional, and to distance himself from being in the quagmire of usually fall into opportunistic behavior. Famous actors are caught by various parties. which are not so much related to artistic work as their work is linked to other projects, often with politics in the foreground. Therefore, it is necessary for him to be attentive outside the corridors of artistic production, so he does not get involved in wearing masks offered to him by any political authority, regardless of the content of the authority, whether it is of the faction of angels or demons.
The actor who knows the secrets of his profession is well aware that the masks of the characters he wears are valid only in the field of art and not in life, and here lies the magic of illusion obtained through the pleasure of the artistic experience with all its masks that the actor presents to the audience at the moment of reception, and if the actor violates this logic, it means that he goes to another path, it will push him to his balance of love and appreciation which was bestowed upon him, to lose his hearing. In general, the audience, by the very nature of the relationship of interest and love that governs their relationship with the actor, does not like to play with his technical tools outside his artistic field, nor does the game of investigation in reality to facilitate to achieve. purposes that have nothing to do with art, and it is possible that such an actor enjoys the support and encouragement of an audience Certain, and the media promotion of the mask he wears outside the art field, and this is because it is linked to a game whose threads are woven by a political authority to legitimize an agenda it wants to achieve, and this actor is always discarded when the game ends and his role in life and art ends.
In any case, it will be a cause for shame when the representative accepts that his price is cheap, if he sells himself to all who pay him, without having an opinion of what is offered to him.
Yes, money is important to face the difficulties of life, and the feeling of influence is an obsession of great importance to a wide variety of people, including the actor, but is to obtain money and influence that is justified through excuses and arguments to avoid being in the public eye?
Iraqi actors
be quiet

Some actors remained silent in times of chaos after a political change in the country and chose to stay away from the scene, not caring about the losses they would pay from their career, although they were highly talented and professional, and our memory still holds a great appreciation for the actress Mai Shawky (1948).Which in the early seventies of the last century was the most prominent talent that appeared in that period among a distinguished group of actresses such as Zainab, Nahida Al Ramah , Wedad Salem and Zakia Khalifa, but she chose to stop working permanently early in her artistic career in 1979 and she was at the peak of her glamor and glamor Because she did not accept for herself to wear masks outside the acting profession , and refused to be part of a public scene whose signs indicated that it would lead the country to an uncertain future, then she chose to live in exile in the mid-nineties of the last century ef.
It is possible for an actor to remain successful in the acting profession he loves, and by which he earns people’s love and respect, if he refuses to be an actor in real life, because as much as he succeeds in it to wear masks of characters on screen and stage, failure will follow him if he gets involved and wearing masks in Real life is to deceive the public, in the service of projects far from art, because the game simply will not the majority of the audience, and it will be ridiculed and dismissed instead of applauded.


I was attracted to television conversations that the Iraqi actress, Awatef Al-Salman (1954) received during more than one interview and in more than one satellite channel with her this year, in which Al-Salman tried to convince us that she was forced to personify ‘ a character accused of betraying the homeland in the series “Shadow Men” produced by Iraqi intelligence. In the nineties of the last century, she claimed that the production agency aimed to drop her with sectarian motives along with two of her co-stars. -stars in the series, by insisting that she play the character, and the same goes for her two colleagues because all three of them belong to one sect, according to her.
I am not here in the matter of defending the intelligence agency that produces the series to absolve it of the malicious motive as claimed by the actress, but what concerns me in the matter is the reference to the technical aspect related to the art of acting, since her speech reveals a great lack of understanding of the axioms related to the acting profession, and it is clear that despite Her work as an actress for more than forty years, but she does not grasp the nature of the artistic relationship that separates absolutely. the character of the real actor in life and the character he plays on the screen, and this is what all acting theories agreed upon with their differences in approach and vision, starting with the Russian teacher Stanislavsky. By the German Bertolt Brecht, the Polish Grotowski and the English Peter Brook and Eugenio Barba and others.
What I focused on from the logic to explain the intentions of the production party indicates a very modest understanding of the actor’s work and his relationship with the character he plays, because it mixes between real art, and according to the understanding ​​from that the audience appears to be on a degree of simplicity of awareness, in a way that it cannot distinguish between truth and fiction, to be therefore convinced that whoever the character of a traitor on the screen assume in a drama series, in reality must be a traitor! And if we accept its strange logic by way of imposition, it must, according to his understanding, accept an absolute critical judgment that confuses her as a person with characters who have adopted the discourse of power, carried out in other dramatic works, to describe the war between Iraq and Iran existed in the eighties of the last century. Youtube.
The actress concluded her speech by saying that her fear of authority forced her to agree to play these characters. And based on our proximity to the artistic community, we find that her words are not accurate and need to be proven because we have not heard of an actor being forced to play a character that he was not convinced of, in addition to the fact that the majority of the actors urgently needed work, so what if it was a drama series sponsored by an intelligence institution that, on the condition that he had a large financial budget and high wages, that the Iraqi actor dreamed of, so it will be natural that many actors will line up looking for an opportunity of this kind, and each one has his own reasons that drive him to work, and this also applies to the scenes of Iraqi films that are in that period was produced such as “Al-Ayyam Al-Qadisiyah, Al-Masila Al-Kubra” he was awarded with huge budgets amounting to millions of dollars, and the wages therein were attractive to the majority of the actors.
What was mentioned by Al-Salman may have motives that she cannot reveal, especially since Iraq has been plunged into unprecedented political chaos for two decades, where an agenda of misrepresentation, distortion and forgery is common among its active forces on the ground, and in harmony with this climate, perhaps Through her denial of these works, she tried to return to the forefront of the art scene after the lights she enjoyed in her youth receded.
Finally, we must remember that wonderful elite of Iraqi actors who respected their profession and their audience and did not participate in dramas they were not convinced of, because acting for them was the profession they loved and dedicated, and they refused to be a game to deceive the audience.

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