Nov 112012
 

Probably the single most important lesson that I learned in acting school is the absolute requirement for an actor to be truthful about the character he portrays.  Whether playing the role of a hero or a villain or someone in between, the actor must always keep in mind that his character is a real person and the actor must honestly portray this real person in order to be believable on stage.  I am finding that this presents a particular challenge in preparing for a role in a
play in the style of the “theater of the absurd.” The SITUATION is absorb–not my character.  In Peephole, my character
is confronting an absurd situation–honestly, through his training and life experience as a real person–in this case, as Hasanayn, the psychiatrist.  The challenge, then, is to keep in mind that it’s the situation–not the person,–who is absurd.  This presents an additional challenge for me because my character is a pretty funny guy and I have to be careful not to turn him into a silly caricature of how people sometimes see someone of his profession.   I can’t walk and talk and behave like someone’s stereotype of a psychiatrist.  I have to walk and talk and behave like Hasanayn, the particular psychiatrist who I am portraying.  It’s a great education for me–and great fun–to work on these challenges alongside such a great “cast of characters” associated with this production.

Oct 042012
 

When I first heard that Ambassador Theater was mounting Egyptian plays my mind immediately began swimming with imagery: the stereotypical pyramids, but also palms, gold, perfume, mud-brick, mummification, and the hard-beating sun. Egypt is a place and a culture which I have only ever read about – never visited or studied in depth – and that got me terribly excited. What would a play about or set in Egypt be like? What time period were the one-acts from? How much of what I already knew would I find in the text, in the story, in the characters?
Other than a passing familiarity with Egypt’s ancient and classical history, I was ignorant.  I had vague notions of several wars between Israel and Egypt (not to mention the rest of the Arab world), and that the conflict was cooled, but not resolved, by a peace treaty.
This look back into my previous understanding of Egypt has revealed to me a host of prejudices I didn’t realize I had. I thought (still think?) that Egypt is a great mystery, that its culture and its heritage since antiquity have been held hostage by religiosity and superstition. Come to find out through the process of working on these two plays, that understanding was simplistic, and failed to tell the whole story.
The most relevant swath of history to Farag as a playwright was much more recent: 1917 onwards – from the time of the Balfour Declaration to the present. At the Treaty of Versailles, European powers, led by Britain and France sliced up the Middle East without much respect to ethnicity or religious homogeneity. In some cases (think: Kurds) international borders were drawn specifically to divide and suppress certain groups.
The strongmen-led, divided Middle East of 1919-WW2 had a profound impact on one of Farag’s political heroes: Gamal Abdel Nasser. Once in power (~1952 until his death in 1967), Nasser presided over a socializing of Egypt: with a march toward a more egalitarian distribution of wealth, a reliance on Arab nationalism as a political force, the refocus of Islam into the religious (and not necessarily political) sphere, and an anti-colonial hostility toward the West.
The 1960s were Farag’s most prolific period of writing, when his plays were consistently produced. Beyond his own success, Farag considered the decade a ‘golden era’ of theater. He and his contemporaries actively resisted the idea that Arab writers were incapable of producing ‘proper’ theater, like Western Tragedy. Together, they sought to define a new, quintessential Arab national drama; they expanded folk tales, experimented with form and style, and produced plays in large annual festivals. Theater’s variety and scope tanked with Nasser’s death, and the end of the 60s.
The Visitor (1971) and the Peephole (1977) came later, from a period of great disappointment and ennui. With both plays, Farag tried to correct society’s faults, rather than lift it to greater heights. Materialism and the middle class’s willful blindness to social problems became his focus.
So far the process has been illuminating, frustrating, and rewarding. Getting into the mindset of each character, finding their motivations, priorities, hang-ups, and points of pride is a high-energy task – each and every rehearsal.
As with the whole cast and crew, I am very excited that our opening night is coming up soon. Get ready for a suspenseful, challenging, and confusing evening of theater; come be an accomplice!

Sep 252012
 

My dream of becoming a global citizen with an ability to travel around the world, learn about various cultures and meet interesting people, becomes a reality with the Ambassador Theater’s production of Trespassing. This season we invite  you all to North Africa to experience the mysterious land of  contemporary Egypt.This would not be possible without the wisdom,  expertise and passion for theater of our late Professor Daniel C. Gerould  who left us this year with a huge library of his work and ever lasting  friendships with his colleagues and experts in world drama. Thanks to  him, we have established a new   relationship with Professor Marvin  Carlson, Dina Amin and a number of distinguished experts in world  theater and drama. We miss Daniel but truly believe that through his  continuous writing and work he is always with us.

Our travels would also  be not possible if not a very special friendship with the former  Ambassador of Egypt, H.E. Sameh H. Shoukry and his generous wife,  Mrs. Suzi Shoukry who hosted 44 students from Hoffman Boston  Elementary School, part of our Ambassadors of International Culture Program who studied the culture of Ancient Egypt. Thanks to many organizations, such as Syracuse University Press, CUNY, American University, George Washington University and many individuals especially our newest addition to our Artistic Staff, Professor Gail Humphries Mardirosian we are able to continue our travels and discoveries of best works from around the world. The list of our collaborators, experts and true lovers of the art of the theater grows bigger and bigger and we feel fortunate and privileged to meet so many talented writers, artists and experts while carrying out our mission to develop an international cultural dialog and discover an international artistic language that brings us all closer.  There is no better way to communicate than through art, and it is essential to our humanity.

Ambassador Theater Presents Trespassing

Enjoy the show!

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Sep 212012
 

When I first heard that Ambassador Theatre was mounting Egyptian  plays my mind immediately began swimming with imagery: the    stereotypical pyramids, but also palms, gold, perfume, mud-brick, mummification, and the hard-beating sun. Egypt is a place and a culture which I have only ever read about – never visited or studied in depth – and that got me terribly excited.  

What would a play about or set in Egypt be like? What time period were the one-acts from? How much of what I already knew would I find in the text, in the story, in the characters?

By way of background, when I think of ancient Egypt, I think of Herodotus’ Histories. In Book II, the author builds Egyptian culture up piece by piece for his reader; its origin myths, the nature of the annual floods, manners and customs, the genealogy of their gods, and a few secrets on how the pyramids were constructed are all included. Herodotus gathered his information from interviews of the local people, their leaders, and even high priests.

As he writes:

- The Egyptians in agreement with their climate, which is unlike any other, and with the river, which shows a nature different from all other rivers, established for themselves manners and customs in a way opposite to other men in almost all matters…
- …no woman is a minister either of male or female divinity, but men of all, both male and female: to support their parents the sons are in no way compelled, if they do not desire to do so, but the daughters are forced to do so, be they never so unwilling…
-  The priests of the gods in other lands wear long hair, but in Egypt they shave their heads: among other men the custom is that in mourning those whom the matter concerns most nearly have their hair cut short, but the Egyptians, when deaths occur, let their hair grow long…

He cites a number of other examples after these, but the overall impression Herodotus leaves with his reader is one of ‘otherness.’ Egypt, he suggests, is an older and (to a Greek mind) stranger culture than any on Earth.

So we shall see…