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A Transcultural Theatrical Relation Between Arabic and European Theatre

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A Transcultural Theatrical Relation Between Arabic and European Theatre LEBANESE AMERICAN UNIVERSITY Origins of Arabic Theatre: A Transcultural Theatrical Relation Between Arabic and European Theatre By Mira Teeny A thesis Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Comparative Literature School of Arts and Sciences April 2017 ii Acknowledgement This project would not have been possible without the support of many people. Many thanks to my advisor, Dr. Kristian Aercke, who read my numerous revisions and helped make some sense of the confusion. Also thanks to my committee members, Dr. Nada Saab and Dr. Vahid Behmardi who offered guidance and support. And finally, thanks to my parents, sisters, and numerous friends who endured this long process with me, always offering support and love. v Origins of Arabic Theatre: A Transcultural Theatrical Relation Between Arabic and European Theatre Mira Teeny Abstract This comparative study explores the origin of Arabic theatre and its development vis-à- vis European theatre. Chapter 1, the Introduction, states the problem and reviews the literature. Chapter 2 observes the contradictory arguments concerning the seeming absence of a native indigenous Arabic theatrical tradition. Hence, this chapter tracks the history of Arabic theatre from its medieval origins to the introduction of European-inspired models in the nineteenth century. Chapter 3 focuses on the beginning of formal Arabic theatre in the nineteenth century in Syria (including Lebanon) and Egypt. The emphasis is on the supposed father of Arabic theatre, Marun Naqqash, and his leading production al-Bakhil (1846). Chapters 4 and 5 examine the implications of crossings in genre and culture, and more in particular the transcultural interaction between early twentieth-century Arab and European theatre—Oscar Asche’s Chu Chin Chow will serve to illustrate this interaction. Keywords: Arabic Theatre, Origins, Al-Bakhil, Chu Chin Chow, European Theatre, Imitation, Transcultural Imitation. vi TABLE OF CONTENTS Contents Chapter 1 ............................................................................................................................ 1 Introduction ........................................................................................................................ 1 1.1 Introduction ........................................................................................................................... 1 1.2 Defining Drama and Theatre across Time ............................................................................ 3 1.2.1 What is Theatre? ..........................................................................................................5 1.2.2 The Elements of Theatre .............................................................................................7 1.2.3 What is Theatre History? ............................................................................................9 1.2.4 Introduction to the Question of the Origins of Theatre and Drama .................... 14 1.3. Statement of the Problem ................................................................................................... 15 1.4. Purpose and Research Questions ....................................................................................... 17 1.5. Review of Literature .......................................................................................................... 17 1.6. Overview of Chapters ........................................................................................................ 19 1.7. Significance and Implications ............................................................................................ 23 Chapter 2 .......................................................................................................................... 26 Early Arabic Drama ......................................................................................................... 26 2.1. Introduction ........................................................................................................................ 26 2.2. Examination of the Historical Background ........................................................................ 26 2.3. Traditional Dramatic Entertainment .................................................................................. 36 2.4. Dramatic Theatre Performances ........................................................................................ 39 2.5. Traditional Theatrical Forms Today .................................................................................. 48 2.6. Authentic Arabic Theatre Reported Via the Lens of European Visitors ........................... 49 2.7. Conclusion ......................................................................................................................... 50 Chapter 3 .......................................................................................................................... 52 Arabic Theatre in the Nineteenth Century ........................................................................ 52 3.1. Introduction ........................................................................................................................ 52 3.2. The Nineteenth and Early Twentieth Centuries ................................................................. 53 3.3. Marun Naqqash .................................................................................................................. 55 3.4. Qabbani .............................................................................................................................. 56 vii 3.5. Ya’qub Sannu’ ................................................................................................................... 58 3.6. The Consolidation of theatre in Egypt before WWI .......................................................... 60 3.7. The Rise of Arabic Drama in Syria and Egypt .................................................................. 61 3.8. The Origins of Modern Arabic Theatre ............................................................................. 63 3.9. The Rise of the Arabic Drama in Egypt and Syria ............................................................ 68 3.10. Conclusion ....................................................................................................................... 74 Arabic Theatre and Drama and the Gaze of the Other .............................................................. 74 3.11. Inferences ......................................................................................................................... 78 Chapter 4 .......................................................................................................................... 80 The Reciprocal Imitation .................................................................................................. 80 4.1. Introduction ........................................................................................................................ 80 4.2. The Fallacy ........................................................................................................................ 82 4.3. Implications and Crossings and Passages in Genre and Culture ....................................... 86 4.4. Transcultural Interaction Between Arab and European Properties in the Genre of Drama ....................................................................................................................................... 88 4.5. Asche and Orientalism ....................................................................................................... 91 4.6. Historical Background to the Development of Orientalism in Asche’s Career ................. 95 4.7. Kismet .............................................................................................................................. 107 4.8. Gender .............................................................................................................................. 111 4.9. Conclusion ....................................................................................................................... 112 Chapter 5 ........................................................................................................................ 113 Chu Chin Chow .............................................................................................................. 113 5.1. Introduction ...................................................................................................................... 113 5.2. Plot ................................................................................................................................... 119 5.3. Pantomime ....................................................................................................................... 124 5.4. The Language of Costume ............................................................................................... 127 5.5. Conclusion ....................................................................................................................... 131 Chapter 6 ........................................................................................................................ 135 Conclusion ...................................................................................................................... 135 Works Cited.................................................................................................................... 141 viii Chapter 1 Introduction 1.1. Introduction When
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