Notes

Introduction

1. Routledge World Encyclopedia of Contemporary Drama, Volume 4, ed. Don Rubin (London: Routledge, 1999). 2. For example, M. M. Badawi: Modern Drama in Egyptt (: Cambridge University Press, 1987), Early Arabic Drama (Cambridge: Cambridge University Press, 1988); Philip Sadgrove: The Egyptian Theatre in the Nineteenth Centuryy (Durham: University of Durham Press, n.d.). 3. Salma Jayyusi and Roger Allen (eds), Arabic Writing Today: The Drama (: American Research Center, 1977); Salma Jayyusi and Roger Allen (eds), Modern Arabic Drama (Bloomington: Indiana University Press, 1995); Salma Jayyusi (ed.), Short Arabic Plays (London: Interlink, 2003). 4. Taher Bekri, De la literature tunisienne et maghrébin (: Harmattan, 1999). All translations from French and Arabic sources are by the authors, unless otherwise noted. 5. Ibid., 5–13. 6. M. M. Badawi, “Arabic Drama Since the Thirties,” in Modern Arabic Literature (Cambridge: Cambridge University Press, 2006), 402. 7. The only book-length study of drama in the in English is the highly informative, but rather narrowly focused Strategies of Resistance in the Dramatic Texts of North African Women Dramatists by Laura Chakravarty Box (London: Taylor & Francis, 2004). The only English-language collection of drama from this region yet to appear is Four Plays from North , ed. Marvin Carlson (New York: Martin E. Segal, 2008). 8. M. Flangon Rogo Koffi, Le Théâtre Africain Francophone (Paris: Harmattan, 2002).

Part I The Pre-Colonial Maghreb

Chapter 1 The Roman Maghreb 1. Michael Brett and Elizabeth Fentress, The (Oxford: Blackwell Publishers, 1996), 50. 2. Trudy Ring, Adele Hast and Paul Challenger, International Dictionary of Historic Places. Volume V: Middle East and Africa (London: Routledge, 1996), 466. 3. Apuleius, , XVIII, 3–5. 4. Debra Bruch, “The Prejudice Against Theatre,” The Journal of Religion and Theatree 3:1 (Summer, 2004), 3. By the third century, Christianity gained more territory within the , thereby posing a greater menace to the state and its stage. The North African theologian (formerly Amazigh) Tertullian (155–220) in his De Spectaculis, denounced theatre and drama as untrue, and maintained that must for- swear the theatre when baptized. The Council of Trullo in 692 banned all pagan festivals, including theatrical performances. 5. The inaccurate, but widespread characterization of as an essentially negative force in relation to theatre will be dealt with in a special section on this subject in Part II of the present study.

222 Notes 223

6. Augustine, Confessions, Book III, trans. and ed. R. S. Pine-Coffin (Baltimore, MD: Penguin, 1961), 55–6. 7. Augustine, The of God: Against the Pagans, trans. and ed. J. W. C. Wand (London: Oxford University Press, 1963), 26–7. Chapter 2 Orature 1. Jacqueline Kaye and Abdelhamid Zoubir, The Ambiguous Compromise: Language, Literature and National Identity in and (London: Routledge, 1990), 15. 2. Jacques Berque, Arab Rebith: Pain and Ecstasyy (London: Al Saqui, 1983), 4. 3. Kamal Salhi, “Morocco, Algeria and ,” in Martin Banham (ed.), A of Theatre in Africa (Cambridge: Cambridge University Press, 2004), 39. 4. Kaye and and Zoubir explore the problematic diglossic situation of Morocco along with the cultural and geographic diglossia. For them, “the Arab conquest of Morocco had brought writing in its trail but it did not convert Morocco into a written cul- ture. Instead there developed, as in other Arab and Arabized cultures, a splitting or diglossia. While classical Arabic was to remain the model, and its formulaic grace of thought and expression survived embedded in everyday speech, developed alongside but not in competition with Berber because as an unwritten language it could not impose itself.” See Ambiguous Compromise, 10. 5. Debora A. Kapchan, “Gender on the Market in Moroccan Women’s Verbal Art: Performative Spheres of Feminine Authority” (unpublished), 4. See also Deborah A. Kapchan, Gender on the Market:Moroccan Women and the Revoicing of Tradition (Philadelphia: University of Pennsylvania Press, 1996). 6. Salhi, “Morocco, Algeria and Tunisia”, 42. 7. Youssef Rachid Haddad, Art du conteur, Art de l’acteurr (Louvain-la-Neuve: Cahiers theatre Louvain, 1982), 15. 8. Fes 555–6, quoted in Ch. Pellat entry, “hikaya” in the Encyclopedia of Islam, ed. B. Lewis et al. (Leiden: Brill, 1960–2009) III, 372. 9. Camille Lacoste-dujardin, Le Conte kabyle: étude ethnologique (Paris: François Maspero, 1970), 23. 10. Pellat entry, “hikaya,” III, 367–77. 11. Dan Ben Amos, “Towards a Definition of Folklore in Context,” in Americo Paredes and Richard Bauman (eds), Towards New Perspectives in Folklore (Austin: University of Texas Press, 1972), 10–11. John Miles Foley, a scholar of orality, writes: “What precisely does it mean to say that a work of literature is oral? What does orality or the lack of it have to do with the making of literature or with its interpretation? These are, of course, relatively new and unfamiliar questions; not very many years ago they and questions like them could not have been posed, not to mention thoughtfully considered or even answered. For it is only recently that the assumption that literature must in all cases fulfill to the letter its etymol- ogy from letter (: Littera) has been shown to be inaccurate, and that the rapidly developing field of oral literature research and scholarship has begun to assert itself.” Introduction to Oral-Formulaic Theory and Research (An Introduction and Annotated Bibliography), (New York: Garland, 1985), 2. 12. Ruth Fennegan, Oral Literature in Africa (Oxford: Oxford University Press, 1970), 3. 13. Walter J. Ong, Orality and Literacy: The Technologizing of the Wordd (London: Methuen, 1982), 4. 14. Sabra Webber, Romancing the Real: Folklore and Ethnographic Representation in (Philadelphia: University of Pennsylvania Press, 1991). 224 Notes

15. Marie Maclean, Narrative As Performance: The Baudelairean Experimentt (London: Routledge, 1988), 1. 16. Friederike Pannewick, “The Hakawati in Contemporary Arabic Theatre, in Angelika Neuwirth et al. (eds), Myths, Historical Archetypes and Symbolic Figures in Arabic Literature (: Hassib Dergham, 1999), 337–48. 17. Ibid., 342. 18. Frantz Fanon, The Wretched of the Earth, trans. Constance Farrington (Harmonds- worth: Penguin, 1967), 193. 19. Ibid., 193–4. 20. Ibid., 194. 21. Erika Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics, trans. Iris Jain Saskya (London: Routledge, 2008), 75. 22. Quoted by D. Reig in Ibn al-Jawzi. La pensée vigile (Paris, 1986), 134. 23. See W. Raven’s entry, “sira,” in the Encyclopedia of Islam, ed. P. J. Bearman and Mark Garborieau (Leiden: Brill, 2002), IX, 660–3. 24. See, for example, M. C. Lyons, “The Arabian Epic: Heroic and Oral Storytelling,” Comparative Literature 49:4 (1997), 359–70. 25. See the entry by Pellat and others, “kissa” in the Encyclopedia of Islam, V, 185–207. 26. Haddad, Art du conteurr, 28–43. 27. M. Sammoun, L’Expérience radicale dans le théâtre arabe, Unpub. Diss., Paris, 1990, quoted in Pannewick, “The Hakawati,” 339. 28. See Pellat’s entry, Encyclopedia of Islam, III, 367–77. This also contains information on related forms like the sira and nadira. 29. See the chapter on “hikaya” in Shmuel Moreh, Live Theatre and Dramatic Literature in the Medieval Arab Worldd (New York: New York University Press, 1992, 85–122). 30. Majid El Houssi, Pour une histoire du théâtre tunisien (: Maison Arabe du Livre, 1982), 160–4. 31. See Boratav’s entry on “maddah” in the Encyclopedia of Islam, V, 951–3. 32. Lufti Abdul-Rahman Faizo, The Cycles of Arabic Drama: Authenticity versus Western Imitation and Influence, unpub. diss., University of Colorado, Boulder, 1985, section on the madih, 26–30. 33. Reinhardt Dozy, Supplement aux Dictionnaires Arabes (Leiden: Brill, 1927), 150. 34. Fazio, Cycles, 26. 35. See Brockelmann and Pellat’s entry on “makama” in the Encyclopedia of Islam, VI, 107–15. 36. Moreh, Live Theatre, 105. 37. See Pellat’s entry on “nadira” in the Encyclopedia of Islam, VII, 856–8. 38. Much study has been done on the popular Djera character in his various forms. The most complete study is by the prolific writer on Algerian literature, Jean Dejeux, Djoh’a: héros de la tradition orale arabo-berbere: hier et aujourd’hui (Sherbrooke, Quebec: Naaman, 1976). Metin And, in his Drama at the Crossroads: Turkish Performing Arts Link Past and Present, East and Westt (Beylerbeyi, Istanbul: Isis Press, 1991), explores the background of this character, along with the similar Molla Nasreddin of Iran, arguing that they are derived from Nasreddin Hoja, a well-known popular character in Anatolian folk-tales. He also speculates on the relation of this performance tradition to international performance work from India (via the Romany, or gypsy, culture) and Indonesia. 39. An example of the continuing insistence on correctness in the name of Islam is the appeal to boycott Bilmawn’s (Bujlud) masquerade that is conceived of by con- servative Sunni scholarship as a pagan relic. Abdellah Hammoudi, a Moroccan Notes 225

Cultural Anthropologist, foregrounds the Fqih’s position with regard to the ongoing masquerade during an interview in his village , where the Fqih commented that “It’s a practice of corrupt people (fasiqin). They take advantage of this occasion to settle their scores. Someone who has an old score to settle with someone else uses this situation to beat him up. And there is more to it than that, I swear before God; here like everywhere else, the masquerade is the opportunity to make a contact with a woman one has desired for a long time.” In Abdellah Hammoudi, The Victim and Its Masks: An Essay on Sacrifice and Masquerade in the Maghreb, trans. Paula Wissing (Chicago: University of Chicago Press, 1993), 88.

Chapter 3 The Halqa 1. Joachim Fiebach, “Theatricality: from Oral Traditions to Televised Realities,” Substance 31:2–3 (1998–9), 17. 2. Philip D. Schuyler, “Entertainment in the ,” in Donna Lee Bowen and Evelyn A. Early (eds), Everyday Life in the Muslim Middle Eastt (Bloomington: Indiana University Press, 1993), 2. 3. Kapchan, “Gender,” 3. 4. Ben Amos, “Toward a Definition,” 11. 5. Schuyler, “Entertainment,” 277. 6. Quoted in www.lavieeco.com/.../6636jammaa-el-fna. 7. Mohammed Kaghat, Al-mumatil wa-alatuhu (The Actor and His Machine) (: Ministry of Culture Publications, 2002), 30. 8. Ibnu Arabi, “Al-mabadiu wal-ghayat,”in Khalid Belkacem, Al-kitabatu wa-ttasawufu inda ibnu arabiyy (: Tubkal, 2000), 49. 9. Elias Canetti, The Voices of : A Record of a Visitt, translated from the German by J. A. Underwood (New York: The Seabury Press, 1978), 77. 10. Ibid., 77. 11. Walter Benjamin, Illuminations (London: Fontana Collins, 1973), 87. 12. Fischer-Lichte, The Transformative Power of Performance, 36. 13. Peter Brook, in Michael Wilson, Storytelling and Theatre: Contemporary Storytellers and their Artt (Basingstoke: Palgrave Macmillan, 2006), 5. 14. Hassan Bahraoui, Al-masrah al-magrebiy baht fi al-usul a-s-sosyu taqafia (Moroccan Theatre: A Study of the Socio-Cultural Roots) (Casablanca: Arabic Cultural Center, 1994), 28. Needless to say, al-halqa performers are not aware of Western acting and stagecraft theories. These are spontaneous artists who make spectacles with- out recourse to any Western theory of theatre-making. One can even say that these people have never ever seen a performance in a theatre building. So, the analogy with Brecht and Stanislavsky is meant only to illuminate their highly artistic strategies of acting. 15. Schuyler, “Entertainment,” 277–8. 16. Lahsen Benaziza, Romancing Scheherazade: John Barth and the One Thousand and One Nights (, Maroc: Publication de la Faculté des Lettres et des Sciences Humaines, 2001), 1–2. 17. John Barth, The Friday Book: Essays and Other Nonfiction (New York: Putnam, 1984), 268.

Chapter 4 Shadow Plays and Costumed Performers 1. Derek Hopwood and Mustafa Badawi, Three Shadow Plays by Mohammed Ibn Daniyal (Cambridge: Gibb Memorial, 1992 ), 24. 2. Ibid., 3–12. 226 Notes

3. Hermann Von Puckler-Muskau, Chronique, Lettres, Journal de voyage, Volume 2 (Paris: Fournier, 1836–7), 99–100. 4. El Houssi, Pour une histoire, 50, n. 28. 5. Arlette Roth, Le théâtre algérien de langue dialectale 1926–1954 (Paris: Maspero, 1967), 15. 6. Richard Southern, The Seven Ages of the Theatre (New York: Hill & Wang, 1961), 29–30. 7. Bujludd in Arabic means “the man with the skins.” The Berber titles for this figure are Bilmawn in the Shilha dialect and Bu-Islikhen in the Tamazight. One also finds the Arabic Bubtayen or even Sba’ Bubtayn, “the lion with the skins.” Finally, one also sometimes hears the term Herrma. Edmond Doutté, who tran- scribed this as Herena, suggests that the word may come from the Arabic root HRM, meaning “to grow old,” hence Herrma, “the decrepit one.” But one might also think of Hermes… In brief, the word Bujludd and its Berber equivalents mean almost the same thing and invoke the same metaphor of masking the human under an animal’s skin. 8. Hammoudi, The Victim and its Masks, 11. 9. Ibid., 1. 10. Eugenio Barba, Beyond the Floating Islands (New York: PAJ Publications, 1986), 45. 11. Ibid., 23. 12. René A. Bravmann, Islam and Tribal Art in (Cambridge: Cambridge University Press, 1974), 31. 13. Julian Baldick, Black God: The Afroasiatic Roots of the Jewish, Christian and Muslim Religions (London: I. B. Tauris, 1997), 80. 14. Ibid., 143. 15. Julius Caesarr, Act I, scene 2. 16. , in Presents the Pipes of Pan at Jajouka (New York: Point Music, 1995), 1. 17. William Burroughs, “Face to Face with the Goat God,” OUI 2:8 (Chicago, August 1973), 1. 18. Stephen Davis, Jajouka Rolling Stone: A Fable of Gods and Heroes (New York: Random House, 1993), 55–6. 19. Melvyn Bragg, in by His Friends, ed. Gary Pulsifier (London: Peter Owen, 1993), 1, 60.

Chapter 5 Carnival and Ritual Performance 1. August Mouliéras, Le Maroc inconnu, Volume II (Paris: Challamel, 1899), 106–11. 2. H. Marchand, Masques carnavalesque et carnival en Kabylie (: Societe Historique Algerienne), 2–3. 3. Edmund Doutté, Magie et Religion dans L’Afrique du Nordd (Paris: J. Maisonneuve, 1994), 535. 4. Nabila Amir, “Fête de la Sbeiba: Un ritual et une histoire,” L’Info.au quotidian (29 December 2009). 5. James Frazer, The Golden Bough: A Study of Magic and Religion, Volume 4 (London: Macmillan, 1911), 152–3. 6. Mohammed Mennouni, in Abdessamad Kenfaoui, Tulba (Casablanca: Tarik Publications, 2004), 8. 7. Hamid Triki, “La Fête de Soltan Tolba ou l’éphemère souverainté,” in Abdessamad Kenfaoui (in collaboration with Tayeb Saddiki), Sultan Tulba (Casablanca: Tarik Publications, 2004), 11. Notes 227

8. Pierre Loti, Au Maroc (Casablanca: Eddif, 2005), 164, 233–4. 9. Terry Eagleton, Walter Benjamin, or, Towards a Revolutionary Criticism (London: Verso, 1981), 148. 10. Mikhail Bakhtin, Rabelais and his World, trans. Helen Isworsky (Cambridge, MA: MIT Press, 1965), 317. 11. Marvin Carlson, “Theatre and Dialogism”, in Janelle G. Reinelt and Joseph R. Roach (eds), Critical Theory and Performance (Ann Arbor: University of Michigan Press, 1992). 12. Bakhtin, Rabelais, 122. 13. Hassan Mniai, Abhat fi Al-Masrah Al-Maghrebi (Studies in Moroccan Theatre) (: Sawt Meknes, 1974), 7. 14. Doutté, Magie et Réligion en Afrique du Nord, 507. 15. Karl-G. Prasse, The Tuaregs: The Blue People (Copenhagen: Museum Tusculanum Press, 1995), 41.

Part II Colonial Theatre in the Maghreb

Chapter 6 Nineteenth-Century European Theatres 1. The present Alaoui royal family took power over the ruins of the previous ruling house of Saadiyin, though both are descendents from the Prophet’s line. Building upon the achievements of his successors, especially in unifying the country against the Siba (outlaw), Sultan Moulay Ismail acceded to the throne in 1672 and extended his rule as far as Senegal via a well-organized army. After consolidating his power, he invested a great deal in diplomatic relationships with during the reign of Louis XIV, and to a lesser degree during the time of James II. 2. The leading Moroccan playwright, Tayeb Saddiki, has written an engaging comedy, Nous nous sommes faites pour nous entendre, concerning the adventures of the first Moroccan ambassador in Louis XIV’s Paris. 3. “Lettre d’un comédien à un de ses amis, touchant sa captivité et celle de 26 de ses camarades, chez les corsairs de Tunis et ce qu’ils obliges de faire pour adoucir leurs peines,” Paris: Pierre Clement, 1741, quoted in Moncef Charfeddine, Deux siécles de théâtre en Tunisie (Tunis: Editions Ibn Charaf, 2002)., 9–11. 4. Ibid., 13–15. Hatem Noureddine, “Sompteux Théâtre Municipal,” Le Temps (24 May 2008), 19. 5. Pierre Grandchamp, Autour du Consulat de France à Tunis (Tunis: Aloccio, 1943), 39. 6. Capitaine ***, Une Promenade à Tunis en 1842 (Paris: Vassal, n.d.), 45–7. 7. Capitaine ***, Promenade, quoted in Charfeddine, Deux siécles, 20. 8. Ibid., 21. 9. Benjamin Stora, Algeria 1830–2000: A Short Historyy (Ithaca, NY: Cornell University Press, 2001), 3. 10. Fernand Arnaudies, Histoire de l’Opéra d’Algerr (Algiers, 1941), 116. 11. Henry Dunant, Notice sur la régence de Tunis (Geneva: Jules-Guillame Fick, 1858), 59. 12. Ibid., Notice sur la régence de. 13. Alexandre Dumas, Le Véloce ou Tanger, Alger et Tunis (Montreal: Le Joyeux Roger, 2006), 190–1. 14. Hamadi ben Halima, Un Demi Siècle de Théâtre Arab en Tunisie (Tunis: Université de Tunis, 1974), 21. 15. Stora, Algeria 1830–2000, 5. 16. Ibid., 18. 17. Charteddine, Deux siécles, 51–4. 228 Notes

18. Details of Paradiso from Tunisian historian Raoul Darmon, quoted in ibid., 60–2. 19. Quoted in ibid., 65. 20. Quoted in ibid., 69. 21. Quoted in ibid., 81–3. 22. Ibid., 171. 23. Quoted in ibid., 201–3. 24. Anon, “Pour sauver ,” Revue de Paris (September 1911), 36.

Chapter 7 The First Arab Performances 1. Shmuel Moreh and Philip Sadgrove, Jewish Contributions to Nineteenth-Century Arabic Theatre (Oxford: Oxford University Press, 1996). 2. Ibid., 16. 3. Ibid., 10–11. 4. Ibid., 11. 5. Ibid., 22. 6. Ibid., 50. 7. Ben Halema, Un Demi Siècle de Théâtre, 31–2. 8. Potter, “Le comédie arabe,” Revue de Paris 5 (1864), 155–62, quoted in Roth, Le théâtre algérien, 18. 9. Edmond Doutté, Magie et Religion, 500, 504. 10. Quoted in Ben Halima, Un Demi Siècle de Théâtre, 36. 11. Najib Al-Haddad, Riwayat Salah El-Din Al-Ayoubi (The Story of Salah El-Din Al-Ayoubi), 3rd edn (Beirut: Maktabat Sader, 1929), 4. 12. Ben Halima, Un Demi Siècle de Théâtre, 40. 13. Ibid., 35–40. 14. All this was reported in the Arabic newspaper As-Zohra , 23 February 1909, quoted in Ben Halima, Un Demi Siècle de Théâtre, 43–4. 15. Quoted in Charfeddine, Deux siécles de théâtre, 253–4. 16. Quoted in ibid., 254. 17. Ahmed Cheniki, Le Théâtre en Algérie: Histoire et enjeux (Aix-en-Province: Edisud, 2002), 17. 18. Mahboub Stambouli, “Regards sur le théâtre Algérian,” Amal (Promesses) (March 1976). 19. C. R. Pennel, Morocco Since 1830: A Historyy (London: C. Hurst, 2000), 152.

Chapter 8 The Developing Maghreb Stage 1. Jacques Ladreit de Lacharrière, La Création marocainee (Paris: Lavanzelle, 1930), 143. 2. Hulbert Lyautey, quoted from Letters du Tonkin et de Madagascarr, 1894-1899 (Paris: 1920, p. 71), in Paul Rabinow, French Modern: Norms and Forms of the Social Environment (Cambridge, MA: MIT, 1989), 285. 3. Charles Kuzman (ed.), Modernist Islam 1840–1940 (Oxford: Oxford University Press, 2002), 6. 4. Abdellah Chakroun, A la Recontre du Théâtre au Marocc (Casablanca: Najah , 1998), 44–5. 5. Abdelwahed Ouzri, Le théâtre Au Maroc: Structures et Tendances (Casablanca: Les Editions Toubkal, 1997), 22–3. 6. Abdellah Chakroun, “Tatawwor al-Masrah al-Maghraby Qabl el-Esteqlal wa Ba’adaho,” Jaridat el-Elm (1956), 36–7. 7. Roth, Le théâtre algérienne, 21. 8. Mahiéddine Bachtarzi, Mémoires 1919-1939 (SNED, Algiers, 1968), 49. Notes 229

9. Roth, Le théâtre algérienne, 22. 10. Bachtarzi, Mémoires 1919–1939, 31. 11. Roth, Le théâtre algérien, 59. 12. Bachtarzi, Mémoires 1919–1939, 44. 13. Jeanne Faivre d’Arcier, Habiba Messika: La brûlure du péchéé (Paris: Belfond, 1998), 68.

Chapter 9 The Theatre of Resistance 1 26 April 1937, quoted in Cheniki, Théâtre en Algérie, 27–8. 2. Roth, Le théâtre algérien, 75. 3. Quoted in Ben Halima, Un Demi Siècle de Théâtre, 109. 4. As-Sawab, 15 February 1934, quoted in ibid., 95–6. 5. In 1923 became an international zone that was politically neutral and economically open. The new statute formalized international control over the 140 square miles that represented the city and its surroundings between 1923 and 1956 (with a five-year disruption as controlled the city after the collapse of France in World War II in ). For almost 23 years, Tangier was run by an inter- national council formed by delegates from the major countries that had acceded to the Act in 1907, and became a notorious dream city and a congrega- tion site for a number of important Arab and Western exiles, artists, writers, and politicians who fell captive to its magical spell including , Eugene Delacroix, Walter Harris, , and Paul Bowles along with his wife . During the late fifties and sixties, the Beat Generation made a well-worn path to the underground life that marked the international city. Writers and art- ists such as Brion Gysin, William Burroughs, Tennessee Williams, , Truman Capote, Gregory Corso, , Irving Rosenthal, Gore Vidal, and Alfred Chester all passed through in transit and marked the city’s collective memory. 6. Azouz Hakim, quoted by Abderrahman Al-Wafi (ed.), Intissar Al-Hak (Tetouàn: Asmir Publications, 2006), 5. Shakib Arslan (1869–1946) is a Lebanese poet, journalist, and political activist who was exiled by French mandate authorities in Geneva, Switzerland, a growing place for militant and during World War II. His influence became significant with the Journal he founded, La Nation Arabe (1930–8), as it conducted a serious critique of European imperialism with a particular focus on the French colonial rule of the Maghreb. Arslan was instrumental in connecting independence movements in the Maghreb and the Mashreq. Thanks to his visit to Tetouàn and Tangier and his mentoring of an emerging resistance movement, the Moroccan fight against the Berber Decree was made international.

Chapter 10 Islam and the Colonial Stage 1 Al-Haddad, Riwayat Salahed-dine Al-Ayoubi, 3. 2. Jacob Landau, Studies in the Arab Theater and Cinema (Philadelphia: University of Pennsylvania Press, 1958). 3. John Gassner and Edward Quinn, The Reader’s Encyclopedia of World Drama (New York: Crowell, 1969). 4. Mohammed Aziza, L’Image et l’Islam (Paris: A. Michel, 1978). 5. Peter J. Chelkowsky, Ta’ziyeh: Ritual and Drama in Iran (New York: New York University Press, 1979). 6. Mohammed Al-Khozai, The Development of Early Arabic Drama, 1847–1900 (New York: Longman, 1984). 230 Notes

7. Badawi, Early Arabic Drama. 8. Oscar G. Brockett and Franklin J. Hildy, History of the Theatre, 9th edn (Boston, MA: Allyn & Bacon, 2003), 69. 9. John Bell, “Islamic Performance and the Problem of Drama,” The Drama Review 49:4 (T 188) (Winter 2005), 7. 10. Al-khozai, The Development of Early Arabic Drama, 4. 11. Mohammed Aziza, Al-islam wal- masrah (Islam and Theatre) (Riyad: Oyoun Al-maqalat, 1987), 21–45, 211. 12. Ahmed Ben Saddik, in Hassan Bahraoui, “Al-Islam wal-masrah” (Islam and Theatre), revue culturele Alamatt 4 (1995), 7. 13. Abdelkebir Khatibi and Mohammed Sijelmassi, The Splendor of Islamic Calligraphy, trans. James Hughes (London: Thames & Hudson,1976). 14. Ibid., 192. 15. Ibid., 192. 16. El Balagh el Djezairi, 24 February 1932, quoted in Cheniki, Le Théâtre en Algérie, 26. 17. For a detailed study of the salafi movement and of its complex relationship with the FLN in the establishment of modern Algeria, see James McDougall, History and the Culture of Nationalism in Algeria (Cambridge: Cambridge Univeristy Press, 2006). 18. J. Damis, “The Origin and Significance of the Free Schools Movement in Morocco, 1919–1931,” in Revue de L’Occident Musulman et de la Méditerranéee 19:1 (1975), 81. 19. Homi Bhabha, The Location of Culture (London: Routledge, 1994), 86. 20. Ibid., 112. 21. Ouzri, Le Théâtre au Maroc, 210. 22. Ibid., 104. 23. Just as the French attempted to diminish nationalist sentiments in Morocco by attempting to develop Berber culture as a system competing with that of the Arab/Islamic population, they championed “Andalusian” culture as a “European” alternative to native “African” expression throughout the Maghreb. 24. Ouzri, Le Théâtre au Maroc, 56.

Chapter 11 From World War II to Independence 1. Hassan Mniai, Abhat fi Al-Masrah Al-Maghrebi, 64. 2. Dwight D. Eisenhower, Crusade in (New York: Doubleday, 1948), 137. 3. McDougall, History and the Culture of Nationalism, 68. 4. Alger republicain, 21 October, quoted in Bachtarzi, Mémoires 1939–1951, 74. 5. Mniai, Abhat fi al-masrah al-maghribi, 65. 6. Chakroun, A La Rencontre du théâtre, 145. 7. André Voisin, quoted by Omar Fertat, “Le Théâtre Marocain: de la tradition a l’écriture,” in Martine Mathieu-Job (ed.), L’entredire Francophone (Bordeaux: CELFA Publications, 2004), 191. For more on André Voisin’s mission in Morocco, see also Omar Fertat, “Théâtre, monde Associatif et Francophonie au Maroc”, in Sylvie Guillaume (ed.), Les Associations dans la Francophonie (Pessac: Publication de la Maison des Sciences de L’homme d’Aquitaine Pessac, 2006), 141. 8. André Voisin, “Le Crochet à Nuages: Expériences de Théâtre Populaire Au Maroc,” in Denis Bablet and Jean Jacquot (eds), Le Lieu Théâtral dans La Société Moderne, 2nd edn (Paris: Editions Du Centre National de la recherché Scientifique, 1968), 49. 9. Ibid., 50. 10. Ibid., 51. 11. Andre Voisin (interviewed by Cherif Khaznadar), Jeune Afrique 513:3 (November 1970), 62. Notes 231

12. J. Vilar, “Theatre: A Public Service [1960],” in Jeremy Aheame (ed.), French Cultural Policy Debates: A Reader (London: Routledge, 2002), 44. 13. An-Nahda, 12 June 1949, quoted in Ben Hamila, Un Demi Siècle de Théâtre, 129. 14. Quoted in Abdallah El Rukaibni, “Algeria,” in The World Encyclopedia of Contemporary Drama, ed. Don Rubin, Volume 4, The Arab Worldd (Routledge: London, 1999), 52. 15. Quoted by Allalou in “L’Aurore du théâtre algérienne,” Cahiers du CDSHH, (1982), 12.

Part III Post-Colonial Theatre in the Maghreb

Chapter 12 The Early Theatres of Independence, 1956–1970 1. Jean Vilar, “Theatre: A Public Service (1960),” 44. 2. On 25 January 1955, the company was officially created by a decision of the President of the Municipality of Tunis under the name of “La Troupe Municipale d’Art Dramatique Arabe.” Its was assigned to Mohammed Aziz Al-Agrebi who was assisted by the Egyptian artist Zaki Taymat as artistic director. At the beginning of the theatre season 1960–1, Hassen Zemerli became director, and then Ali Ben Ayad from 1963 up to 1972. After Ben Ayad’s sudden death in Paris, a younger generation took over: Mohsen Ben Abdallah (1972–5), Muncef Souissi (1976–8), Béchir Drissi (1980–3), Mohammed Kouka (1983–99), Béchir Drissi again (2000–2), and since the year 2002 the actress Mouna Noureddine has become the new director of the most privileged theatre edifice in Tunisia, as well as its theatre company. Shakespeare’s The Merchant of Venice was the first production of the company at the Municipal Theatre of Tunis 3 and 4 February 1954, followed by a musical entitled Layla min Alfi lila wa lila (A Night from the Thousand and One Nights) with the contribution of Egyptian artists such as the musician Abdelaziz Mohammed and actress Awatif Ramadan on the 18 and 19 May 1954. 3. The Secrétariat of State for Culture and Information published Bourguiba’s speech in Arabic and French, under the title “pour sortir le théâtre Tunisien de bordière” in November 1962. Mohammed Mediouni, a leading Tunisian theatre scholar, asserts that President Bourguiba’s speech was “unique in modern Arabo-African cultures. None of the heads of the emerging states of the time dedicated a whole address to theatre, its conditions and problems in full details the way the Tunisian president did.” Mohammed Mediouni, Theatre in Tunisia (Sharjah: Arab Theatre Institute Publications, 2009), 57. 4. Ali Ben Ayad, in Mahmoud Al-Majri (ed.), Min Shawaghili at-taassisi lil masrahi at- tunusiyy (Questions of the Formation of Tunisian Theatre) (Tunis: Jaridat Al-Huriya Publications, Book Series No.11, 2009), 65. 5. The first manifesto of Ceremonial Theatre in Morocco appeared in March 1979. In three decades, it was followed by seven other manifestos by the same group under the leadership of the Moroccan playwright Abdelkrim Berrchid. The first manifesto created a heated debate in the amateur theatre scene giving rise to alternative mani- festos from other groups who disagreed with Berrchid. However, this war of manifes- tos was mostly theoretical and hardly visible on the ground at the practical level. 6. Muncef Souissi, son of the actor Ezzedine Souissi, has profoundly influenced the Tunisian theatre scene for almost 40 years. He graduated in 1965 and went to France to further his artistic development, becoming a disciple of Vilar. In 1968, he returned to Tunisia and founded the regional theatre company. At an early stage, his various collaborations with playwright and critic Azzedine Madani gave 232 Notes

meaning to “the call to return to tradition.” Through his interweaving of Vilar’s spectacular performance techniques and Madani’s exploded narrative dramas Souissi inaugurated a new era of theatre-making in Tunisia. 7. Hafedh Djedidi writes: “La troupe devient ainsi un creuset d’artistes et une nouvelle école théâtrale qui va se distinguer par un traitement intelligent du patrimoine arabo-musulman en vue de disséquer le quotidien social et politique de l’époque,” Le Théâtre Tunisien dans tous ses Etats (Hammam-: Editions Dar El-Mizen, 2003), 21. 8. Will D. Swearingen, Moroccan Mirages: Agrarian Dreams and Deceptions, 1912–1986 (London: I. B. Tauris, 1988), 186. 9. Mohammed Kaghat, Binyat At-Taelif Al-masrahi mina Al-Bidaya ila Attamaninat (Casablanca: Dar Thaqafa, 1986), 53. 10. The Mamoura theatre company served as a real platform for emerging profes- sionals. Between 1966 and 1968, the company presented 50 performances of Shraa atana rbaà in various Moroccan with 30,412 audience members in total. The play was written by Mohammed Ahmed Al-Basri and directed by Abdessamad Dinya. The Mamoura also presented 20 productions of Hamlett for audiences totalling 3757, and 25 performances of Waliyo al-lah for audiences of 10,192. During the same period the company presented ten televised dramas, among them Driss Tadili’s Al-Hadh. Among the members officially affiliated with the Mamoura: Malika Amaari, Fatima Rajwani, Zhour Mamri, Fatima Rawi, Driss Tadili, Mohammed Afifi, Ahmed Alawi, Larbi Yakoubi, Ahmed Tayeb Laalaj, Aziz Mawhoub… . 11. Pierre Lucas, “Réalisation et Perspectives du C.A.D.,” in Arts et Culture, revue de la division de la Jeunesse et des sports (Rabat, 1960), 10. 12. Ouzri, Le Théâtre au Maroc, 171. 13. Tayeb Saddiki, in Ahmed Farhat, Aswat Taqafia mina al-Magreb al-Arabiyy (Beirut: A-ddar Al-Alamia, 1984), 55. 14. Hassan Mniai, Al-masrah al-magrebiy mina t-tasisi ila sima-at al-furja (Moroccan Theatre from to the Making of Spectacle) (Fez: University Sidi Mohammed Ben Abellah Publications, 1994), 10. 15. Tayeb Saddiki, Diwan Sidi Abderrahman Al-Majdub (Rabat: Stouki, 1979), 64. 16. Act 1, scene 1. 17. Act 1, scene 6. 18. Quoted in El Rukaibi, “Algeria,” 53. 19. Kamel Bendimered, “Ould Abderrahmane Kaki, Le Pionnier du théâtre ihtifal,” Djazirr 3 (Algiers, 2003), 30. 20. During his exile in Paris, Boudia continued both his dedication to theatre and his political activism. He served for several years as director of the Théâtre de l’Ouest Parisien and personally financed a Maghreb theatre in the capital. He also openly championed the Palestinian cause, for which he was targeted by the Israeli secret service and he was assassinated by a bomb planted in his car in 1973. 21. Cheniki, Le Théâtre en Algérie, 158. 22. Wadi Bouzar, La Culture en question (Algiers: Silex-SNED, 1982), quoted in ibid., 45. Chapter 13 Developing National Traditions, 1970–1990 1. Cheniki, Le Théâtre en Algérie. 2. , “Les Intellectuels, la révolution et le pouvoir,” Jeune Afrique 324 (26 March 1967), 22. Notes 233

3. The manifesto of the company is reproduced at www.kadour-naimi.com/ f-theatre-mer-algerie.htm. 4. Kateb Yacine, interview with Jacques Alessandra, “Le Théâtre révolutionnaire algérien,” Travail théâtral (December 1979), 95. 5. See interview with Kadour in l’Oranie, reproduced at www.kadour-naimi.com/ f-theatre-mer-algerie-kadour-naimi-yacine.htm. 6. Kamil Salhi, The Politics and Aesthetics of Kateb Yacine (Lewiston, NY: Edwin Mellen, 1999), 15. 7. Kateb Yacine, quoted in Nadia Tazi, “Kateb Yacine,” L’Autre Journal (July–August 1985), 17. 8. Kateb Yacine, Le Poète comme un boxeurr (Paris: Seuil, 1994), 33. 9. Salhi, Politics, 121. 10. Hichem ben Yaïche, interview with Yacine in December, 1989. Quoted in ibid., 219. 11. Ibid. 12. Arlette Casas, “Entretien avec Kateb Yacine,” Mots 57 (1998), 105. 13. Ahmed Cheniki on censure, a television interview of TVDZ (16 April 2007). See www.dztv.net/index.php?2007/04/26/900-le-point-de-vue-de-ahmed-cheniki- sur-la-censure. 14. Interview with Ahmed Cheniki, quoted in “Les Lieux de la Mise en Scene,” Analyze du Texte (Annaga, 2005). 15. Ibid. 16. Posted by Abdelmadjid Kaouah,12 November 2009, on wwwjohablogspotcom- kaouah.blogspot.com/2009/11/la-halqa-inedite-dabdelkader-alloula-html. 17. Christiane Achour, Vies et portraits (Paris: Encyclopaedia Universalis, 1995), 480. 18. H. M. Kahina, tribute to Alloula published in La Nouvelle Republique (8 March 2004). 19. Abdelkader Alloula, “Du Théâtre-Halqa à la Commedia dell’Arte” interview with Mohammed Kali, in En Mémoire du Futur: Pour Abdelkader Alloula (Paris:Sindbad, Actes Sud, 1997), 175-76. 20. Mniai, Al-masrah al-magrebiy, 51. 21. Abdelkrim Berrchid, Hududu Al-Kaini walmumkini fi Al-Masrah Al-Ihtifali (The Limits of the Given and the Possible in Festive Theatre) (Casablanca: Dar Athakafa, 1985), 127–47. 22. Mustapha Ramadani, Qadaya Al-Masrah Al-Ihtifali (Issues of Ceremonial Theatre) (Damascus: Union of Arab Writers, 1993), 32. 23. Berrchid, Hududu Al-Kaini, 15. 24. Abdelkrim Berrchid, OTayl wal-Khayl wal-ba-rud (Othello, Horses, and Gunpowderr) (Casablanca: At-taqafa Al-Jadida, 1975). 25. “Bouhou: Who am I? I am the one who put on the garments of a fool. I am the one who took people’s complains to your majesty, then I came disguised as a clown loaded by the sufferings of the poor ones, the hunger of the hungry ones. I came to you with things that happen in your absent presence” (OTayl, 31). 26. Abdelkrim Berrchid, Imruu al-qays fi-bariz (Imruu Al-Qais in Paris) (Rabat: Editions Stouki, 1982). All quotations and references are from our English translation. 27. Ibid., 15. 28. Ibid., 15–16. 29. Berrchid, Hududu Al-Kainii, 13. 234 Notes

30. Mohammed Meskin, in Hassan Mniai, A Study of Mohammed Meskin’s Theatrical Project (Rabat: Manshurat Itihad Kutab Al-Maghreb, 1991), 6. 31. Fadel Jaïbi is an author and director of theatre and cinema. Between 1967 and 1972, he studied at the Sorbonne in Paris and at Charles Dullin School. Between 1974 and 1978, he taught at the Centre d’Art Dramatique of Tunis. He is the co-founder of the southern Theatre in 1972, and The New Theatre in 1975. Fadel Jaïbi is indisputably a major contemporary Arab theatre figure; his theatre that he calls “elite for all” is appreciated in Tunis, as it is in Rabat, Beirut, Damascus, or Cairo. Europe in recent years has become interested in Jaïbi’s theat- rical research and uncompromising representation of Tunisian politics, as well as his “method” of theatrical training, internships for directing the actors, multiple communications and interventions. His performances, such as Comedia, Familia, Desert coffee lovers, Junun, have great success in France, Germany, , , Spain, Holland, , Sweden, and even Argentina, Korea, and Japan. Jaïbi was the first Arab artist to be invited officially to perform at the 2002 Avignon Festival in the 56 years of its existence. 32. TNT was created by Law No. 113, 30 December 1983 (relating to paragraphs 73–74 of the Finance Act of the same year). 33. “C’est un enfant né adulte en raison du retard enregistré pour doter le pays d’une vitrine théâtrale officielle qui engagerait totalement l’état tunisien dans une prise en charge de la création théâtrale à un haut niveau.” Djedidi, Le Théâtre Tunisien, 23. 34. Mohammed Driss, quoted in ibid., 24. 35. Tawfiq Jebali, Interview in http://english.aljazeera.net/indepth/opinion /2011/01/ 2011116142317498666.html (accessed 17 January 2011). 36. , “Interview with an Exile” was first published in Copenhagen on 20 March 1934, then quoted by Helge Hulberg in Die ästhetischen Anschauungen Bertolt Brechts (Copenhagen, 1962), and re-edited and translated into English by John Willett in Brecht on Theatre (London: Methuen, 1957). Chapter 14 Entering a New Century, 1990–2010 1. Quoted in Bouaiane ben Achour, Le Théâtre en Mouvement: Octobre 88 à ce jour (Oran: Éditions Dar El Gharb, 2002), 107. 2. See www.abdelkaderalloula.org. 3. Quoted in Sara Deschryver, “Parcours Ziani Chérif El Ayad,” in www.lafriche. org/friche/zdyn1/rubrique.php3?idϩ314 (October 2006). 4. Quoted in Fayçal Métaoui, “Mohammed Benguettaf à la librairie Socrate: ‘J’appartiens à une génération qui commence à disparaître,’” El Watan 24 (October 2009), 1. 5. Quoted in Catherine Bédarida, “2003, année de l’Algérie et des polémiques,” Le Monde (1 April 2002), 16. 6. Quoted in Marina Da Silva, “L’Algérie en France, une Année polémique,” Le Monde diplomatiquee (15 December 2003), 4. 7. “Avant-propos” to La Récréation des clowns, quoted in Cheniki, Théâtre en Algérie, 114. 8. Mahmoud Chaal, “Un patrimoine en danger d’extinction,” Algérie Newsweek (8–14 October 2009), 2. 9. La tribune, quoted in Ben Achour, Le Théâtre, 148. 10. Mohammed Said Fellag, “Le Théâtre algérien est dans la rue,” interview with Chantal Boiron, UBU 27/28 (2003), 55–9. Notes 235

11. H.Z., “Arezki Tahar où le combat d’un homme de théâtre Kabyle,” L’Humanité (11 April 2002), 16. 12. Quoted by Idr Ammour, in “La Générale de la pièce théâtrale Fatma à ,” posted 2/3/2008 on www.tamanrasset.cnet/article.item.1167.htm. 13. Tayeb Saddiki, Al-fil was-sarawil (: Éditions Boukili, 1997). 14. Ibid., 9. 15. The maqama or assembly is an Arab artistic form. It is a long narrative poem. The tradition off maqama started in the eleventh century when Badie a-Azzaman al-hamadani composed his first maqama. Though it has dramatic characteristics, the maqama cannot be regarded as a complete play destined for the stage. Jacob Landau highlights the theatricality of the maqama: “Another popular literary form which often contains the elements of mimicry is the Arabic maqama, in which the theme was frequently presented in the guise of conversation, parts of which imitated various characters” ( Jacob M. Landau, Studies in the Arab Theatre and Cinema (Philadelphia: 1957). The rawi (narrator) presents his narrative in the form of storytelling, yet adapts different roles to flesh out his characters. However, the poetic aspect of the maqama is much more dominant than its theatricality, as Landau rightly observes: “[Its] linguistic sophistication is valued more than successful imitation” (ibid., 3). 16. Tayeb Saddiki, Maqamat Badiaa Ezzamane El-Hamadani (An Entertaining bsatt) (Kenitra: Èditions Boukili, 1998), 1. 17. Ahmed Tayeb Laalaj, Juha wa Chajarat A-ttufah (Juha and the Apple Tree) (Tangier: Chirae, 1998). 18. Abdelhaq Zerouali, Kidtu Arah (I Was About to See) is a script written in 2002 and presented during the theatre season of 2003 by Zerouali’s Theatre Company. 19. The High Institute of Dramatic Art is the unique Institute of higher Education specialized in forming actors, scenographers and cultural directors and cura- tors in Morocco. It is part of the Ministry of Culture rather than Education. Conceived in 1969, but realized only in 1987 with Mohammed Ben Issa as Minister of Culture, the Institute’s vision has ever since been shaped by the Ministry’s different temperaments. 20. El-Meskini Sghir, Bu-jma’ l-faruj (Bu-Jma’ the Rooster) (Casablanca: The Center for Third Theatre Publications, 2000). 21. Lalla J’mila is a play by Zober Benbouchta, first performed by the Ibn Khaldoun Theatre Company in 2004. The acuteness of the play was well explored by the experimental director Jamal Eddine El-Abrak along with his devoted team and particularly the two outstanding actresses Hasna Tantaoui and Kenza Fridou. 22. Faqih in Arabic means a knowledgeable man who learns the Qu‘ran by heart, and knows the Sunna of the Prophet Mohammed, and all that concerns everyday-life practice of the Muslims (Shari’a). In brief, it is a title that is achieved mostly by men, for only they have easy access to public education. Very few women in Arabo- Islamic history have achieved the title of fkiha, which literally means an educated woman who is able to advance her own interpretation of reality in a male-domi- nated world. Lalla Yennou’s self-education and desire to educate other women are all subversive attempts to dismantle paternalistic systems of governance. 23. Benbouchta, Lalla J’mila, 25. 24. Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall (California: University of California Press ,1984), 23. 25. Benbouchta, Lalla J’mila, 25. 26. Ibid. 236 Notes

27. Zohra Makach, Fragments, 4 (Unpublished script). 28. Ibid., 23. 29. According to Freda Chapple and Chiel Kattenbelt, intermediality “is about changes in theatre practice and thus about changing perceptions of performance, which become visible through the process of staging. We locate intermediality at a meeting point in-between the performers, the observers, and the confluence of media involved in a performance at a particular moment of time. The intermedial inhabits a space in-between the different realities that the performance creates and thus it becomes, at the minimum, a tripartite phenomenon.” Freda Chapple and Chiel Kattenbelt (eds), Intermediality in Theatre and Performance (Amsterdam, Editions Rodopi B. V., 2006), 12. 30. Tayeb Saddiki, Le Diner de Gala (Casablanca: Éditions eddif, 1990). 31. Ibid., 34. 32. Ibid., 101. 33. Mohammed Kaghat, Al-murtajala al-jadida & murtajalt Fes (The New Improvised Play and The Impromptu of Fez) (Casablanca: Sabou Publications, 1991). 34. Ibid., 7. 35. Kaghat, murtajalat Fes, 83–4. 36. Mohammed Kaghat, Chmisa Lalla (unpublished script). 37. According to research conducted by Amina Touzani, ISADAK was conceived in 1969 and realized in 1987. Up till 1998, 73 percent of the alumni were recruited by the Ministry of Culture, 10 percent pursued postgraduate studies, 6 to 8 percent were recruited by local municipalities, 4 to 5 percent worked in TV, and 1 percent worked in the private sector. These figures reveal that the field of professional theatre is still very fragile in Morocco. 38. According to the Ministry of Culture up till 2003, there were 20 theatre buildings in Morocco offering 11020 seats; 12 of these were found in the political capital, Rabat, and in the economic one, Casablanca, with 9270 seats and almost 80 percent of the total seats in all Morocco. For more details on the current situation, see also Amina Touzani, La culture et la politique culturelle au Marocc (Casablanca: Édition la croisée des chemins, 2003), 173. 39. Just before he died, King Hassan II inaugurated Morocco’s path to recover its memory. A truth commission was formed in order to enquire into state violence in the “years of lead” (les années du plomb) that was mainly characterized by autocratic dictatorship with limited freedoms and excessive use of force. This process continued with his son, King Mohammed VI; however the Truth and Reconciliation Commission chose a non-punitive approach that highlighted repressed narratives rather than the explanation of what happened and its legal implications. Some of the narratives were even broadcast on Moroccan TV without pointing out the agents of repression. In the past 15 years a significant literary output that is called Adab A-Sujuun (the literature of prisons) has flour- ished in Morocco. Ex-political prisoners contributed a great deal to the present recovery of memory. Theatre, too, has contributed. Al-Karnaval is among the dramas that relate the experience of imprisonment in Morocco. It was written by Mohammed Amin Ben Youb, a Professor of Theatre at ISADAK whose brother was a political prisoner for eight years. The play was put onstage by the company in 2009. 40. During his two terms in office, Cultural Minister Al-Achàri changed the subsidy structure by rendering it more transparent and democratic, with a legal text and a national commission. His main partner in this project was the National Union Notes 237

of Theatre Professionals that was founded in 1993 immediately after the first National for Professional Theatre, held on 14 May 1992. A date that is still celebrated in Morocco as the National Day of Theatre, partly because King Hassan II addressed the participants of the forum with a letter. 41. Zine El Abidine Ben Ali (b.1936) was President of Tunisia between 7 November 1987 and 14 January 2011 after a peaceful medico-legal coup d’étatt against President Bourguiba who was declared medically unfit for the job. Ben Ali took up the presendency of the acting under Article 57 of the Tunisian Constitution. In 2009, President Ben Ali was re-elected for the fifth time. In 23 years, Ben Ali and his entourage built one of the most policed and autocratic regimes in the region, leading the country to economic distress and political repression. On Friday, 14 January 2011, Ben Ali fled the country leaving escalating riots behind him. 42. President Ben Ali, an extract from his address to cultural operators on the occa- sion of the International Theatre Day on 27 March 1993, in Al-Hurriya (28 March 1993). It is important to note that the state in Tunisia utilized different artistic means in the service of the official ideology. This is evident in the percentage of the national budget devoted to the cultural sector, which was originally around 0.25 percent after independence. It was multiplied by 10 in 2009; the estimation today stands at 1.1 percent of the annual budget of the state. The missions assigned to the Ministry of Culture in the artistic field are: To promote, coordinate and harmonize cultural activities and to ensure the development and execution of programs aiming at the development and the democratic diffusion of culture. Another priority is the support of national cultural action abroad and the strengthening of international cooperation. In short, it is especially a question of safeguarding the historical and artistic heritage, democratization of culture and its regionalization, particularly through a network of regional, national, and international festivals. The state subsidy to theatrical diffusion also allows the purchase of up to ten performances from the same company per annum by the Ministry, for a going amount of 20,000 and 40,000 dinars. The Ministry determines where these performances be played. The subsidies are granted to the company once the performance is approved by the commission of the Ministry. 43. Tawfiq Jebali, http://www.aljazeera.net/NR/exeres/1E20DC69-EB88-4B45-A72C- 987DC9532B50.htm (accessed on 17 January 2011). 44. The battle of the Jaïbis was fought at various locations. Some political parties such as the Progressive Democratic Party put a petition in their website that reads as follows: “Support Jalila Baccar and Fadel Jaïbi: Tunisian drama writers and theatre directors.” We have just learned that, the Consultative Commission called “Orientation théâtrale” in Tunisia has recommended the censorship of the Play “Khamsoun” (Captive Bodies). This recommendation is fully effective since it has been rati- fied by the Ministry of Culture. Needless to remember that the authors of this play, Jalila Baccar and Fadel Jaïbi, have been at the heart of the theatre rebirth in Tunisia as well as in the rest of the Arab world. For the last 35 years, through each of their stage creations, they have never stopped stiring up the world of the thea- tre and injecting new impulses into it. They have fed and enrichened it by sce- nographical innovations unveiling the failures, the gaps, and the make-believes of the society they live in. Moreover, their numerous performances have been acclaimed worldwide. Those of you who have had the chance to applaud them on 238 Notes

the occasion of their latest (now banned ) play at the Odéon Théâtre de l’Europe in Paris in June have been impressed by its high literary and artistic quality as well as by the soundness of its political dimension. Indeed, this play reflects, through the pure magic of theatre, the violence of radicalism and the creeping ideology lying underneath it, legitimizing crime. How can a regime supposedly based on modernity deprive citizens it is ruling from a performance aiming at raising their awareness of the root causes of a crisis which jeopardizes progress, encourages regression, and endangers the future? We strongly condemn this act of censorship which deprives the artists of their source of livelihood and above all, of their very reason to live. To link with the petition: www.familiaprod.com. In http://www. pdpinfo.org/spip.php?article4229 (accessed 14 November 2010).

Conclusion

1. Ian Chambers, Migrancy, Culture, Identityy (London and New York: Routledge, 1994), 74. In Derridean terms, the “authentic” is very much like a “cinder” or a “trace,” for it destroys its purity at the very moment of presenting itself, or rather as it is thrown into being. The matrix form of plenitude, fullness, and origin is a myth. Derrida puts it thus: “The concept of origin … is nothing but the myth of efface- ment of the trace – that is to say, of an original différance that is neither absence nor presence, neither negative nor positive” (J. Derrida, Of Grammatology, trans. Gayatri Chakravorty, Baltimore, MD, and London: Johns Hopkins University Press, 167). Obviously, origin as presence is, according to Derrida, “the myth of addi- tion.” There is no origin but “différance”; there is no presence but representation. The origin is constructed only through a non-origin; its existence as différance precedes its delusive essence, for it originates in a lack of plenitude. “The trace,” as a matter of fact, “is not only the disappearance of origin …, it means that the origin did not even disappear, that it was never constituted except reciprocally by a non-origin, the trace, which thus becomes the origin of the origin” ( J. Derrida, Positions, trans. Alan Bass, Chicago: Chicago University Press, 61). 2. Rustom Bharucha, Theatre and the World: Essays on Performance and Politics of Culture (New Delhi: Manohar, 1992), 2. 3. Bhabha, quoted in Gary A. Olson and Lynn Worsham, “Staging the Politics of Difference: Homi Bhabha’s Critical Literacy,” in Gary A. Olson and Lynn Worsham (eds), Race, Rhetoric, and the Postcolonial (New York: State University of New York Press, 1999), 39. 4. Homi Bhabha, “The Third Space, Interview with Homi Bhabha,” in Jonathan Rutherford (ed.), Identity, Community, Culture, Difference (London: Lawrence & Wishart, 1990), 211. 5. Homi Bhabha, The Location of Culture (New York: Routledge, 1994). 6. Bhabha, ibid., 38–9. 7. Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia (Minneapolis, MN: University of Minnesota Press, 1987), 88–9. 8. Frantz Fanon, The Wretched of the Earth, trans. Constance Farrington (Harmondsworth: Penguin, 1967), 223. 9. Salman Rushdie describes the effects of such alienation as follows: “our physical alienation from India almost inevitably means that we will not be capable of reclaiming precisely the thing that was lost; that we will, in short, create fictions, not actual cities or villages, but invisible ones, imaginary homelands, Indias of the Notes 239

mind,” Imaginary Homelands: Essays and Criticism 1981–1991 (New York: Penguin, 1992), 10. 10. Khatibi is critical of the two most frequent itineraries chosen by North Africans to construct a post-colonial society: the Pan-Arabic version of Marxism that is based on Hegelian dialectics and Western metaphysics; and an ever-impossible “retour aux sources,” which has most often taken the form of a radical Islam. His insis- tence on the history of the interrelations of Mediterranean civilizations provides the example of the very impossibility of the kind of cultural purity sought after by both traditionalists and Europeanized elites. He proposes that instead of trying to erase one element of the current ethno-cultural landscape, Maghreb intellectuals should evaluate that very landscape according to what he calls a double critique. “The Occident is part of me,” Khatibi reminds us, “a part that I can only deny insofar as I resist all the occidents and all the orients that oppress and disillusion me” (Khatibi, Maghreb Pluriel, 106). Bibliography

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Aba, Noureddine Ahrar, Latifa, 171 La Récréation des clowns, 185 El-Ajwad, Oran, 184 Abbaba, Algeria, 149 Al-Akoudi, Ibrahim, 78, 89 Abbar. Azzadine, 157, 187–8 Aladin, Sidi Bel Abbès, 189 Abbas, Khedive, 80 Alaoui, Kamal, 134 Abd-el-Kader, 61 Al-Alaoui, Mohammed Bel-Arbi, 106 Abdeall, Mohya, 157 Alaric, 13 Abdelhadi, Tawfiq, 133 Alawai, Ahmed, 232 Abdennadher, Mohammed, 134 Algerian National Theatre (TNA), 126–8, Abderrahmane, Ould (Kaki), 4, 143–4, 143–52, 156, 159, 161, 165, 177, 147, 152, 176–9, 183, 187 180–3, 186, 189–91, 193, 219 132 Sana (132 Years), 145 Algiers, 60–1, 71, 86–7, 90, 93–5, 116, Afriqiya Qahl al-Aam Waahid (Africa 125, 157–9, 186, 192 before the Year One), 145 Algiers , 63, 86, 115–16, 124, 143 Beni Kelboune, 150 Ali, Noureddine, 211 Diwan el Garagouez, 145 Ali Agha, 59 El Guerrab wa Essalhine (The Water Ali Bey, 58 Bearer and the ), 145 El-Alj, Bachir, 118 Koul Ouahed ou hukmou (Each Allalou (Sellali Ali), 90–1 according to his own judgement), Djeha, 90 145 Zouaj Bou Akline (The Marriage of Bou Sha’b uth-Thulma (The People of the Akline), 91 Night), 145 Alloula, Abdelkader, 4, 145–6, 159–66, Tarikh Essahra (The Legend of the 176–9, 181, 183–5, 187, 218, 220 Rose), 144 Al-Agouwâl (The Sayings), 161–3, 165, Abiad, George, 80, 85–6, 88–9, 97, 123–4 180 Abidat r’ma, 35 El-Ajwad (The Generous Ones), 162–3, El-Abrak, Jamal Eddine, 235 165, 184–5 Al-Achàri, Mohammed, 210, 236 Chaab Faq (The Awakening of the Achard, Frédéric, 65 People’s Conscience), 185 Achour, Tawfik, 132 La Générale, 185 Action culturelle des travailleurs Hammam Rebbi (The Baths of (Workers’ Cultural Action, ACT), Bon-Dieu), 161 153, 158 Homk Salim, 150, 159, 185 Al-Adab al-Arabiya (Arabian Letters), El Khobza (Bread), 159, 186 Tunis, 77–8, 88, 96 Laalaq (The Leeches), 147 Adet, Georges, 118 El-Lithem (The Veil), 162–3, 184–5 Afifi, Ahmad, 77 El Meida (The Table), 159–60 Afifi, Mohammed, 232 Nassine oua salatine, 189 Agadir, Morocco, 193, 203, 209 El Wjb el Watani (The National Duty), Agar, Madame, 65 185 Al-Aghaliba, 111 Alloula, Raja, 176, 184 Al-Agrebi, Mohammed, 92, 123, 132, 231 Amaari, Malika, 232 Ahmed I, 62 Amalric, Mathieu, 186

247 248 Index

Amazight theatre and culture, 2, 9, 19–20, Ayyoub, Habib 24, 27, 44, 101–2, 108, 134, 151, Les Adieux, 186 154–5, 157, 182, 190–3, 203 Al-Azdi, Ahmad Abu’l-Mutahhar, 15 Amed (Hope), , 115–16 Al-Aziz, Abd, 74 El Amiri, Taha, 125 Aziza, Mohammed, 103–4 Amour, Hammadi, 121 Azzefoun, Algeria, 191 And, Metin, 224 , Algeria, 115, 143, 181, 189–90, Baccar, Jalila, 134, 172, 212–13, 237 192 Araberlin, 212 Annahdha, 97 In Search for Aida, 212 Anouilh, Jean, 124 Junun, 212, 234 Antonin, Emperor, 11 Khamsoun (Captive Bodies ), 212, 237 Antun, Farah, 86 Yahia Yaïch (Amnesia ), 212–13 Aouche, Mme., 191 Bachedjerrah, Dhelloul, 91 Apulieus, 11–13 Bachtarzi, Mahieddine, 87–8, 90–1, 95, Aquarium Theatre Company, 210 114–17, 124–5, 146, 156 Hkayaat Nssa (Women’s Stories), 210 Béni Oui Oui (Those who always say Min Ajlihim (For Them), 210 yes), 105 Qabla Al-Futur (Before Breakfast), 210 Boutchenchana (Cocaine), 95 Arab Maghreb Liberation Committee, 122 Bouzarai fi al askarr (The Peasant in the Arabi, Ibnu, 32 Regiment), 95 Arabian Nights, see Thousand and One Doulet Ennisa, 124 Nights Al-en-nîf (Duty), 95 El Aras, Oran, 146 Les Femmes (Women), 95 Arezki, Mfouke, 192 El Kheddaïne (The Traitors), 95–6, 105 Arena, Tunis, 64–5 Ma Yenfaa ghir Essah (Only the Truth Aristophanes, 147 Counts), 95, 144 Parliament of Women, 139 El Ouadjib (Duty), 105 El-Arkoubi, Youssef, 198–9 Zid’ayat, 95 Arslan, Shakib, 100, 101, 229 Badawi, M.M., 1, 4, 38, 103 L’Art Scénique, Sidi Bel Abbès, 187 Baghdad, 23, 25 Artaud, Antonin, 119–20, 170 Bahraoui, Hassan, 33 Ashura Festival, 40, 46, 51, 74 Bahri, Youssef, 215 Assala, 32 Haqaib (Suitcases), 215 Association of Algerian Muslims Bakhti, Mohammed, 156 (AUMA), 110 Anti oua Ana (You and I), 156 ATAWAKEL, 137 Djelssa Merfoua (Getting-up Session), 157 L’Atelier, Sidi Bel Abbès, 187 Ya Ben Ammi Ouine (Oh, Cousin, Augustine, 13–14, 46 where are we going?), 157 , 10 Bakhtin, Mikhail, 49 L’Avenir, Tunis, 67 Bali, Hajar, 186 Avignon Festival, 158, 234 Le Détourr, 186 Ayachi, M’mida, 188 Le Testament, 186 Ayad, Ahmed, see Rouiched Banan, Aliaa, 78, 85 Ayad, Ziani Chérif, 177, 179–80, 183 Banan, Hasan, 85 L’étoile et la comète (The Star and the Bank, Federico, 83 Comet), 180 Banan, Hasan, 85 Ayadi, Samir Bannan, Alya, 78 Atchan ya sabaya, 172 El Baoundi. Abdessatar, 134 Al-Ayoubi, Salah El-Din, 75, 102 Barba, Eugenio, 40 Index 249

Barbarossa, 57 Bendejedid, Chadli, 176 Barbary Corsairs, 58 Benguettaf, Mohammed, 146, 177, 183 Baron, A.M., 68 El Ayta (The Cry), 177 Barthes, John, 35 Bab el Foutouh, 150 Al-Basri, Mohammed Ahmed Baya, 177 Shraa atana rbaa, 232 Bliss Laouer Kayen Mennou (The Blind Batna, Algeria, 150, 177 Devil Truly Exists), 146 Beaumarchais, Pierre, 137 Le dernier des prisonniers (The Last of The Barber of Seville, 69, 121, 196 the Prisoners), 177 Beckett, Samuel, 144, 171, 175, 187 Fatma, 177, 186, 190–1, 193 Endgame, 142, 188 Journal d’une femme insomniaque (Diary Waiting for Godott, 148 of an Insomniac Woman), 184, 190 El-Bedaoui, Bouchaib, 118 Les Martyrs reviennent cette semaine Bejaia, Algeria, 150, 177, 180–1, 189–90, (The Martyrs Return this Week), 184 192–3 Benhamamouch, Jamil, 185 Bekri, Tahar, 3 Benjamin, Walter, 33 Belbey, Malika, 184 Bennani, Mohammed, 118 Belhadj, Nesrine, 190 Benshmicha, Hocine, 188 Ben Abdalla, Mohsen, 172, 231 Benhsmicha, Kada, 187–8 Ben Aicha, Abdellah, 58 Adel, 187 Ben Ali, Zine El Abidine, 210, 214, 237 Les Clowns, 187 Ben Aarafa, Mohammed, 122 M’kaidech, 187 Ben Abdellah, Sidi Mohammed, 50 L’oeuf blue (The blue Egg), 187–8 Ben Amar, Rajae, 134, 172 Le Rossignol et l’oiseau méchanique Ben Ayad, Ali, 132–3, 172, 231 (The Nightingale and the Mechanical Ben Ayad, Mohammed, 121 Bird), 187 Ben Badis, Abd al-Hamid, 110–11 Ulysse, 188 Ben-Cheikh, Mohammed Benyoub, Mohammed Amine Intissar al-baraa (The Victory of The Karnaval, 210 Innocence), 99 Benyoucef, Messaoud Ben Friha, Chadi, 85, 89 Dans les ténèbres gîtent les aigles (Eagles Ben Kamla, Ali, 89 Dwell in the Shadows), 186 Ben Marbouk, Yahia, 125 Berber. See amazight Ben Rachid, Noureddine, 93 Berber Decree, 100–1, 108, 110 Ben Saddik, Ahmed, 104, 207 Berber spring, 158 Ben Said, Mohammed, 119 Bernhardt, Sarah, 65, 80, 92 Ben Tijani, Hamda, 92, 113 Love, 92 Ben Youb, Mohammed Amin Bernziza, Lahsen, 35 Al-Karnaval, 236 Berrchid, Abdelkrim, 166–8, 231 Ben Zidane, Moulay Tabeb, 119 Imruu al-qays fi-Bariz, 168 Benaïssa, Slimane, 146, 148–9, 153, 155, Otayl wal-Khayl wal-ba-rudd (Otayl, 158–9, 176, 179, 183 Horses and Gunpowder), 168 Babour eghraq (The Ship Sinks), 158 A-Zawiya, 171 Babour ghraq (The Ship Sails On) Bey, Maïssa Boualem zid el Gouddem (Boualem, Filles de silence, 186 Go Forward), 149–50 Bhabha, Homi, 109, 219–20 El mahgour (The Scorned), 158, 181 Bharucha, Rustom, 219 Youm el Jhem’a (Friday), 158 Al-Bidaoui, Bouchaib, 118 Benbouchta, Zober , Algeria, 190 Lalla J’mila, 200–2, 235 Blahi, Abdelkader, 187 250 Index

Blida, Algeria, 87, 115–16 Brulin, Tone Bolo, Etienne, 127 The Dogs, 144 Bonbonniere, Tunis, 68 L’bsatt, 50, 52, 118 Bordj El Kiffan, Algeria, 143, 147, 179, Bujlud, 40–2, 52 183, 185 Al-Bukhari, 104 Bouabid, Abderrahim, 118 Burroughs, William, 42 Bouajila, Sam, 186 Bussat, 83 Bouanani, Samir, 189 Boubrioua, Ahcène, 159 Caesaria, see Boudia, Mohammed, 127–8, 143, 146, Café Kharief, Tunis, 74 232 Café-Théâtre, Casablanca, 139 Naissancers, 128 Café-Théâtre, Tunis, 67 L’Olivierr, 127 Calderon, Pierre Boudiaf, Mohammed, 158, 192 Life is a Dream, 143, 147 Boudjedra, Rachid Camera, Lopez, 63 al-Halazoun al-A’need (The Stubborn Camus, Albert, 125 Snail), 157 , 132 Bouguermouh, Malek, 181 Candas, Georges, 65 Boujellatia, Mohammed, 134 Canetti, Ellias, 33 Boulbyar, Aziza, 134 Caracol, Manuel, 83 Boulayman, Ahmed, 77, 89, 97, 113, 123 Carlin, 59 Boulifa, Mohammed, 183 Carlson, Marvin, 50, 222 Boumedienne, Hourai, 143, 145, 158 Carthage, 9, 11, 13–15, 69–70 Boumedienne, Sirat, 145, 177 Carthage Festival, 14, 155, 157, 179, 214 Bourguiba, Habib, 122, 124, 131–3, 213, Carton, Louis, 69–70 231, 237 Caruso, Enrico, 83 Bourguiba, Mohammad, 77, 79, 88, 91–2 Casablanca, Morocco, 122, 139, 193, At-Tagya (The Tyrant), 97 200, 206, 236 Bouteflika, Abdelaziz, 177 Casino Plage, Sousse, 67 Bouzar, Wadi, 146 Castro, Estrella, 83 Box, Laura Chakravarty, 222 Cercle des etudiants de Ben-Aknoun, 155 Bowles, Paul, 42–3 Ceremonial Theatre, see Al-Masrah Bradbury, Ray Al-Ihtifalia La colonne de feu (The Column of Fire), Cervantes, Miguel de 188 The Siege of Naumantia, 147 Destination cratère de Chicago, 187 A-Chabab al Qayrawani (Kaiouanian Bravmann, René, 41 Youth), 111 Brecht, Bertolt, 21, 33, 144, 147, 170–1 Chakroun, Abdallah, 83, 118–19 Caucasian Chalk Circle, 146 Le secret Absolu, 118 The Exception and the Rule, 157 Chapman, George Good Person of Setzuan, 181 The Conspiracy of Charles, Duke of Herr Puntila, 188 Byron, 58 Interview with an Exile, 175 Charfeddine, Moncef, 58 The Measures Taken, 181 Charles II, King of England, 58 The Motherr, 173 Charles X, King of France, 61 Petty Bourgeois Weddingg, 173 Chateaubriand, François Private Life of the Master Race, 163 The Last of the Abencerages, 86 Señora Carrar’s Rifles, 144 Chekhov, Anton Brockett, Oscar G. and Frank Hildy, 103 Swan Songg, 182 Brook, Peter, 206 Chelkowsky, Peter J., 103 Index 251

Chen, Chu Su Delavigne, Casimir, 80 Monnaies d’orr, 147 Deleuze, Gilles and Felix Guattari, 220 Cheniki, Amed, 150 Delvair, Mme, 70 Cherchell (Caesaria), Algeria, 10, 14, 46, Demarcy, Richard 149 Les Mimosas d’Algérie, 185 Cherqui, Gérard Dennery, Adolphe, 65, 89 Alger-Algerr, 186 Derdour, Ahcène, 115 Chouak, Aziz Derrida, Jacques, 12, 218 El Maestro, 186 Derham, Mohammed, 198 Chrysalide, 186 Destour Party, 96 Cicolo Europeao, 62 Dhalila, Haja Bali, 184 Clauzel, Bertrand, 61 Di Castelnuovo, 64 , 10 Dido, 9 Cleopatra Selene, 10 Dinya, Abdessamad, 232 Cohen-Tanugi, David, 64 Djedidi, Hafedh, 134, 173 Combined Company (al-Firqa Djenina palace, Algiers, 61, 63 al-Mokhtalitaa), 85 Doghmi, Mohammed, 118 The Comedy Theatre (al-Masrah Don Sebastian of Portugal, 57–8 Fukaahi), 96 Donizetti, Gaetano Comédie Française, 14, 65–6, 70, 119–20, Bélisaire, 61 136, 180, 184–5 La Favorite, 64 Comédie Italienne, 59 Lucie de Lammermoorr, 61 Constantine, Algeria, 63, 110, 115–17, Douagi, Ali 143, 151, 159, 177, 189–90 Al Amira Banga (The Princess Banga), Conteh-Morgan, John, 4 93 Coppée, François Douchet, Jacob, 66 Pour la Couronne (For the Crown), 97 Doudou, Aboul Id Coquelin, Constant, 66 at-Turaaab (The Soil), 116 Corneille, Pierre , Tunisia, 11, 14 Le Cid, 79, 111, 191 Doughmi, Mohammed, 121 Horace, 80 Doutté, Edmond, 46, 51, 74, 226 Polyeucte, 14, 70 Dozy, Reinhardt, 26 Courteline, Georges, 69 Driss, Mohammed, 134, 172, 174–5, 188, The Crescent (al-Hilal), 88, 89, 92 214–15 Cypriani, Homere, 66 L’Héitage (The Legacy), 174 Rajel Wa Mra (A Man and a Woman), Dahmoune, Brahim, 90–1 214–15 Daif, Bouselham, 171 Drissi, Béchir, 172, 231 Dakkar, Hakim, 189 Al Ghoussoun al Homrr, 172 Damis, J., 106 Ducange, Victor, 89 Daniel, Ibn, 38 Dullin, Charles, 119 Daninos, Abraham Dumas, Alexandre, 62 Nazahat al-Mushtaq (The Pleasure Trip Catherine Howard, 76 of the Enamoured), 71–2 La Tour de Nesle, 88 Daudet, Alphonse, 69 Dumas, Alexandre fils, 65 Davis, Stephen, 42–3 L’Aventurière, 65 De Gaulle, Charles, 114, 128 Dunant, Henry, 61 Dejeux, Jean, 224 Delarue-Mardus, Lucie The Educator (al-Mouhaddiba ), 86 La Prêtresse de Tanitt, 70 Eagleton, Terry, 49 252 Index

Eden Theatre, , 67 Fichet, Alexandre, 67, 70 Egyptian Company (Koumidia el Masria), Fiebach, Yoachim, 28 74 Filippo, Eduardo de Eid, Aziz, 92 The Art of Comedy, 191 Eisenhower, Dwight, 114 Firqat Achabiba Al-Fassiya (Fez Youth Elaïdi, Abdou, 186 Company), 108 Elizabeth, Queen of England, 58 Firqat Al-Mamoura (Mamoura Theatre Ennasser, Mohammed, 57 Company), 122, 136, 138, 170, 232 Erdman, Nikolai, 190 Firqat al-Mokhtalita (Combined The Suicide, 188 Company), 85 Errazi, Mohammed, 115 Firqat An-Najm Al-Maghrebi Lit-Tamthil Le Justicierr, 115 Al-Arabiy Les Trois Voleurs, 115 (The Maghreb Star of Arabic Acting Le Voleur de minuitt, 115 Company), Fez, 111 Errkik, Youssef, 133 Firqat as-Saada (Happiness Company), Essaiem, Muncef, 211 Tunis, 96 l’Essor, Tunis, 67, 69–70, 79 Firqat At-Tamthil Al-maghribi (The Etoile du Nord, Tunis, 211 Moroccan Theatre Company), 122, Etoile Nord- Africaine (ENA), 94 136 El Eulma, Algeria, 190 Firqat Wassila Sabri (Wassila Sabri Experimental Theatre Festival, Cairo, Company), 93 214–15 Flores, Lola, 83 Ezzahia, Algiers, 91 Fly-whisk affair, 61 Foley, John Miles, 223 Faizo, Lufti, 25–6 Folies Bergères, Tunis Falaki, Reda, 115 Frazer, Sir James, 41, 46–8 Familia, Tunis, 212, 215, 234 Fridou, Kenza, 235 Coffee Lovers Desertt, 212, 234 Frisch, Max Comedia, 212, 234 The Firebugs, 181 Familia, 212, 234 Fanon, Frantz, 21–2, 221 Gafsa, Tunisia, 134, 172, 174, 210–11, 234 Farag, Alfred, 3 Gafsi, Rajah, 134 Alif Lachey Alik, 134 Galano, Jo, 65 Zir Salem, 134 Gallego, Antonio, 83 Farah, Iskandar Garara, Dalenda, 211 Matami an-Nisa, 76 Gassner, John, 103 Farhat, Raja, 134 Gèze, François, 183 Al-Fassi, Allal, 99, 106 El-Gharbi, Mohammed, 133 El-Fassi, Latifa, 119 Al-Ghazi, Mohammed, 107 Fellag, Mohammed Said, 190–2 Ginioux, Hubert, 139 Les Aventures de Tchop, 189, 191 Goddard, Benjamin Un bateau pour l’Australia, 192 Ruy Blas, 64 Femmegan, Ruth, 20 Gogol, Nicolai Ferhan, Razika, 193 The Nose, 187 Fertat, Omar, 230 Diary of a Madman, 159, 182 Fetmouche, Omar, 193 Goldoni, Carlo Harf B’harff, 181 The Servant of Two Masters, 134, 165 Fez, Morocco, 19, 30–1, 46–9, 83–5, 100, El Gosto, Marseilles, 180 107–11 Gounod, Charles Fischer-Lichte, Erika, 33–4, 205 Faust, 64–6 Index 253

Gouri, Hamid Douaa el hamam (the Prayer of the El Houb fi bilad el hidjara, 189 Doves), 182 El-Tarous (The Hunting Dog), 189 Laachia, Aaouicha wa el harraz (The Gouwâl, 18–19, 23, 145, 147, 150, 160, Lover, Awicha and the Charlatan), 182 162, 217 El-Hadj, Hamida, 182, 193 Gozzi, Carlo Hafid, Moulay, 81 The Green Bird, 144 Haft, Mohammed, 80 Gran Teatro, Tunis, 64 Haiyat, Yusef, 75 , Tangier, 83 Hakam, Abderrazak, 118 Grandmougin, Charles Hakawati, 18, 21, 24–6, 29 La Mort de Carthage, 70 Hakim, Azouz, 101 Gribi, Mustapha, 115 Al-Hakim, Tewfik, 172 Gringa, 65 The Sultan’s Dilemma, 144, 147 Groupe d’action culturelle, 159 Halaf, Muhriz Ibn, 14 Errafd (The Refusal), 159 Halioui, Hadi, 133 Lahal Idoum (Time Past), 159 Al-halqa, 18–19, 26–37, 140–1, 145, 150–1, Nass El Houma (People of the 154, 160–2, 165–7, 195–206, 217–20 Neighborhood), 159 Al-Halqa, Sidi Bel Abbès, 188 Rih Essamar (The Wind of the Al-Hamadhani, 26 Attorneys), 159 Hamat Asma, Blida, 116 Grotowski, Jerzy, 206 Hamid, Abd al-Haq Guellaty, Hassan, 78 , 117 (), Algeria, 10–11, 14, 149 Hamidou (Ahmed Ben Messaoud), 118 Guesmi, Jaafar, 215 Al-Hamis, Bayram, 63 Guevara, Che, 145 Hammam-Lif, Tunisia, 123 Gysin, Brion, 42 Hammar, Mokrane, 192 Imehbas (The Prisoners), 192 Hached, Farhat, 122 Hammoudi, Abdellah, 40, 42, 224 Hachemaoui, Fadela, 186 Hamouda, Djamel, 189 Al-Hachmi, Halima (Habiba Medkouri), Djamila, 190 119 Khabat Kraou, 189 El-Hachemi, Nourredine, 181 Zbida Ezzel, 190 Al-Haddad, Mohammed, 99 Zbida Show, 190 Kalila wa Dimna (Kalila and Dimna), Hamrouni, Abdellatif, 134 100 Al-Hariri, Mohammed Al-Qasim, 26 Al-Haddad, Najib, 75–7, 102 Harouda, Aicha, 32 Haroun Ar-Rachid Wal-Baramika Harrba, 32 (Haroun Ar-Rachid and Al-Baramika), Haskouri, Ahmed Belbachir, 122 89 Hassan II, 50, 135–6, 170, 236–7 Salah El-Din al-Ayoubi, 75–6, 85–6, 89, Havel, Vaclav 91, 96, 102, 107 The Memorandum, 181 Taratu el arab (The Revenge of the Helilou, Dalila, 190 Arabs), 86 Herodotus, 12 Al-Walid Ibn Abd Al-Malik (Ibn, Son of Heywood, Thomas Abd Al-Malik), 100 If You Know Not Me You Know Nobody, Haddad, Youssef Rachid, 19, 24 58 El-Hadj, Faouzia, 193 The Life and Death of Captain Thomas Awlad el Qasaba (Children of the Stukeley, 58 Kasbah), 147 High Institute of Dramatic Art, Morocco, Business is Business, 193 199, 208 254 Index

Hijazi, Ibrahim, 77, 88–9 Jasmine Revolution, 213 Hijazi, Salama, 85–6 Jawks, 88 Hikaya, 25 Jawq an-Nahda Al-Arabviya (Company Hikmet, Nazim, 146 of Arab Rebirth), 83 Al-Hilal (The Crescent), Tunis, 88–9 El Jawk Al-Tanji Li-Tamthil Al-Arabi Al-Hilal El Djazairi (The Algerian (Tangier Ensemble of Arabic Acting), Crescent), 91–2 100 Hirschler, 66 Al-Jawzi, Ibn, 23–4 Hoenerbach, W., 38 Jaziri, Fadel, 134, 172–3 Hopwood, Derek, 38 Jebali, Tawfiq, 133, 174–5, 210–11 Houhou, Ahmed Rida, 115–16 Klem Ellil (Night’s Talks), 210–11 Malakat Gharnaata (The Queen of Klem Ellil 9/11, 211 Granada), 115 Loussous Baghdad, 211 El Houssi, Majid, 25 Mémoire d’un Dinosaure (Memories Hugo, Victor, 69, 79, 123 of a Dinosaur), 175 Hernani, 76 Jebrane, Touria, 209 Les Miserables, 65 Jemma-el-Fna, Marrakesh, 31, 140, 196, Al-Husni, Hasan, 127 219–20 Jenan El-Harty, 85 El-Ibdae, Oran, 185 Jil Jilalla, Morocco, 198 Lbsaytiya (the bsat people), 196 Jimeze, Armstrong Diego, 83 Ibn Khaldoun Theatre Company, 235 John, King of England, 57 Ibrahim, Abdellah, 118 Jones, Brian, 42–3 Ibrahim, Hafez Jonson, Ben Chahid Beirut (The Martyr of Beirut), 80 Volpone, 139 Ibsen, Henrik El Joudi, Jamil, 134 A Doll’s House, 181 Juba II, 9–10 Id el-kbir (Feast of Sacrifice), 40–1, 51 , 9, 42 Ihtifali (Carnivalesque) theatre, 145 Justinian, 14 Imperial Theatre, Algiers, 63 Ionesco, Eugene, 187 Kabyle language, 155, 157, 192 Amédée, 139 Al-Kabbani, Abi Khalil, 137 The Bald Soprano, 144 El-Kadmiri, Ahmed, 118 Rhinocerous, 181 El Kaghat, Mohammed, 32, 137, 207–8 Al-Itytihad Kawakib al-Tamil (The Assatir Muassira (Contemporary Planets’ Theatrical Union), Tunis, Myths), 171 123 Murtajalat Chmisa Lalla, 208 Al-Itytihad al-Masrahi (The Theatrical Murtajalat Fes (The Impromptu of Union), Tunis, 97, 112 Fez), 207 El-Jadida, Morocco, 121, 137 Kahina, H.M., 162 Kairouan, Tunisia, 67, 79, 111, 134 Jagger, Mick, 43 Kairouanian Youth (As-Sabab al Jaïbi, Fadel, 134, 172–3, 211–14, 234 Qayrawanti), 111 Arabs, 173 Kaki, see Ould Abderrahmane Jaibi, Mohammed Kanfaoui, Abdessamad, 119 as-Sultan Byn Judraan Yaldiz (The Sultan Kaouah, Abdelmadjid, 160 before the Walls of Yaldiz,), 77 Kaouti. Mohammed Al-Jalali, Mohammad ibn al-Abid, 110 No Man’s Land, 171 Jamaliyaat al-estitraad (The Aesthetics of Kapchan, Deborah, 18 Digression), 172 Karabaka, Abderrazak, 89 Index 255

Karagoz, 38–9, 59, 74 Laalej, Ahmed Tayeb, 121, 170–1, 196–7, Al-Kasba Theatre Company, 210 232 Kasbaoui, Noureddine, 132 A-Chattab (The Sweeper), 137 Kataev, Valentin Juha wa chajarat a-tufah (Juha and the Squaring the Circle, 181 Apple Tree), 197 Kateb, Mustapha, 125–8, 143–4, 179, Tamrin al-Akbach (Sheep’s Rehearsals), 181 170 Al-Kawkab al-Tamili (The Theatrical Laalaj, Bachir, 118 Star), Tunis, 112, 123 Laalej, Tayeb, 137 Keddadi, Ahmed Labiche, Eugene, 123 Hal Wa Ahwal, 134 Workers’ Theatre (Masrah al-Ummali), El Kef, Tunisia, 134, 172, 174, 210, 231 139 Keltoum (Adjouri Aïcha), 93, 117, La Camago, 59 126–7, 146, 182 Lacharrière, Jacques Ladreit de, 82 Kenfaoui, Abdessamad, 137 Lacoste-Dujardin, Camille, 19 El Kewkeb, Algiers, 95 Lahbib, Mohammed, 97, 113 Khaled, Emir, 79 Al-Watiq Billah al-Hafsi, 97 Khalil and Yazji Yawm Gharnata (The Day of Grenada), Vertu et Fidélité, 80 113 Khatibi, Abdelkebir and Mohammed Lahlou, Nabil Sijelmassi, 104, 221 Ophelia n’est pas Morte (Ophelia is not Khayal al-zill (shadow theatre), 38 Dead), 141–2 Al-Khazmy, Ali, 78 Al-Sa’aa, 141 Kheddaoui, Si Moussa, 115–16 Les Tortus (Turtles), 171 Les Malheurs du pauvre (Sorrows of the Lakhal, Mahieddine, 116 Poor), 116 Lakhdar, Saim, 115, 156 Kherroufi, Allel, 181 Lakhmiri, Taher, 132 Khetmi, Fadhil, 93, 97, 123 Landou, Jacob, 103, 235 Khetmi, Fachla, 93 Lang, Jack, 147 Khoudi, Ahmed, 180–1, 190, 192 Laoust, Emile, 41 Hommage à Aït Menuellet, 184 Lardjam, Kheireddine, 184–5 Le Kassem (The Oath), 181 La Scala, Tunis, 65 Al-Khozai, Mohammed, 103 L’bsatt, 50–2, 168, 195–6 Khraief, Mustapha Lecocq, Charles, 65 Al-Kahina, 98 Giroflé-Girofla, 65 Koffi, Flangon Rogo, 4 La Petite Mariée, 65 Koltès, Bernard-Marie, 205 Leon l’Africain, 46 El Korchi. El Mekki, 183 Lesskov, Nikolai, 33 Kouiret, Sid Ali, 126–7 Le Tourneau, Roger, 19 Kouka, Mohammed, 231 Liceo Rafael Calvo, Tangier, 83 Krtnsks, Abd-al-Razzaq, 85 Lissan Achab (The Voice of the People), Ksentini, Rachid, 91, 93–4, 116, 144–5 97 El-ahed el-wafl (The Faithful Vow), 91 Living Theatre, 151–3 Dar-el-mhabel (The Insane Asylum), 94 , Morocco, 10–11 Faqo (They Woke Up), 95 Lope de Vega, Felix Er-raqedd (The Sleepers), 93 Fueteovejuna, 182 Zouaj Bou Borma (The Marriage of Bou Lorca, Federico Garcia Borma), 91 The House of Bernarda Alba, 132, 181 Kursaal, Algiers, 86–7 Yerma, 132 Kuzman, Charles, 82 Lotfi, Rachina, 92 256 Index

Loti, Pierre, 49 Masara al-Khyana (The Tragic End of Louati, Ali, 133 the Traitoress), 79 Louis XIV, 58 Manifesto of the Eleven, 133–4 Louis-Philippe, 62 Mansali, Mohammed, 87, 90 Lyautey, Louis Hubert, 82–3 Tarik Ibn Ziad, 87 Al-Mansur, Caliph, 104 Mabru, Zaki Maqama, 26–7, 196, 235 Shuhadae al-Wataniya (Fatherland), 88 Al-Maqdissi, Izz Abd al-Salam Maclean, Marie, 20 Kachf al-asrar (The Revelation of Madani, Azzedine, 132, 172, 231–2 Secrets), 72 Ala al-Bahr al-Ouafirr, 174 Marabouts, 45, 105 EL Hallej, 134, 172 Marchetti, Filippo Mourad IIII, 132 Ruy Blas, 65 Sahib al-himar (The Donkey Owner), Mark Anthony, 10 132 Marouk, Habib, 172 Al-Madani, Ahmed, 116–17 Marrakchi, Mohammed Bachir, 119 Hannibal, 116–17 Marrakesh, Morocco, 30, 33, 49–51, Al-Madina, Cheikh, 97 84–5 El Maghout, Mohmed El-Masrah (The Theatre), Algiers, 144 Galou laarab galoubutt (So the Arabs El-Masrah (The Theatre), Tunis, 97–8 Said), 180 Masrah Adifa al-ukhra (The Other Bank Magnan, Jean, 186 Theatre Company) Algérie, 54–62, 186 The Impromptu of Casablanca, 208 The Maghreb Star for Arabic Acting Masrah Eddik, 188 Company (Firqat An-Najm Al-Masrah Fukaahi (The Comedy Al-Maghrebi Lit-Tamthil Al-Arabi), 111 Theatre), Tunis, 96 Mahassen, Souad, 134 Masrah El Ghad (Theatre of Tomorrow), , Tunisia, 134 Algiers, 115 Mahieddine, Mohammed, 193 Al-Masrah Al-Ihtifali (Ceremonial Shamshoum al-Jazaa’iri (The Algerian Theatre), 134, 166–7, 197, 231 Samson), 117 Al-Masrah al-jadid (The New Theatre), Maiakovski, Vladimir Tunis, 172–4, 212, 234 The Bathhouse, 180 Masrah al-muqawama (Theatre of Makach, Zohra, 203–5 Resistance), 98 Aswat Koltes (Voices of Koltès), 205 Masrah a-naaqd (Theatre of Criticism), Fragments, 203–4 169 Makhoukh, Boubekeur, 182 Masrah el Qalla (Theatre of the Citadel), Aladin, 182 177, 180, 189 Ali Baba, 182 Masrah al-Ummali (Workers’ Theatre), Galileo, 182 Casablanca, 139 Hafila Tassir (The Thief), 189 Masrah al-Ummali (Workers’ Theatre), Hissaristan, 182 Rabat, 139 The Wolf and the Sheep, 182 Masrah Al-Yawn (Today’s Theatre), Malraux, André, 150 Tangier, 84 Mamoura Center, Rabat, 119, 136, 138 Imta nbdaw imta (When are we going Mamoura Theatre Company, see Firqat to start, when?), 209 Al-Mamoura El Masri, Abdel-Qadir, 74 Manai, Rached, 175 Al-Masri, Mohammed Azzedine, 86 Al-Mana, Habib, 89 Massenet, Jules Manasu, Mohammed Manon, 67 Index 257

Massoud, Bouhssin, 171 Mohya (Moyha Abdellah), 190 Al-Mastaqbal at-Tamtili (The Theatrical Sinni, 190, 192–3 Future), 97, 112 Mokdad, Abdelkader, 134, 172 Masurel, Christian, 134 Molière, 91, 113–14, 123, 137, 169–70, Mata, Candid, 83 190 Mattei, George L’Avare, 65, 69, 100, 114 La Guerre des Gusses, 186 , 132, 136 La Mauvaise Graine, Caen, 184 Critique de L’ecole des Femmes, 207 Mawhoub, Aziz, 232 Don Juan, 59, 143, 147, 174 El Mazher, Constantine, 115 Les Faux Savants, 116 McDougal, James, 230 Les Fourberies de Scapin, 137, 144, 196 Mecca, 32 George Dandin, 134 Meddah, 18, 25–6, 44–5 Imaginary Invalid, 78, 90, 114, 127, Medea, Algeria, 80 138, 146 Medjoubi, Amina, 181 Impromptu de Versailles, 207 Medjoubi, Azzedine, 176–7, 182, 189–90 La jalousie du barbouille, 118 Mediouni, Mohammed, 231 Le Médecin malgré lui, 65, 78, 84, 90, Mekki, Chebbah, 95 100, 118 La femme ivrogne ignorante, 95 School for Wives, 139 Tarak Ibn Ziyad, 95 , 95, 100, 104, 166 Meknes, Morocco, 199 Molineaux, 78 Meknes Festival, 209 Montesquieu El-Mellouhi, Niddal, 187 Persian Letters, 69 Mendes-France, Pierre, 124, 131 Moreh, Shmuel, 26, 71–2 Mennouni, Mohammed, 48 Moroccan Center for Dramatic Research, Merle, R. 121 Flaminio, 132 Moroccan Theatre Company, see Firqat Meskini, Mohammed, 169–70 At-Tamthil Al-maghribi Ashourr, 169 Mosbah, Ali, 134 El-Meskini, Sghir, 199–200 , Algeria, 189–90 Messika, Habiba, 91–3 Al-Mouhaddiba (The Educator), Algiers, 86 Meunier, Arnaud, 184–5 El-Mouhib, Allel, 144, 179 Miller, Arthur Mouley Ismail, 58, 227 Death of a Salesman, 182 Moulay Rachid, 50 Millet, René, 39 Mounet-Sully, Jean, 70 Mimiche, Tawfiq, 189 Mrini, Houssin, 121, 137 Minh, Ho Chi, 148 Mrozek, Slawomir Minouni, Rachid The Emigrants, 190 La Fleuve detourné, 193 Municipal Theatre, Algiers, 86 Al-Mithinni, Basir, 89, 97, 123 Municipal Theatre, Tunis, 66–9, 73–4, 76, El Mizhar (The Blossom), Algiers, 125 78, 88–9, 132, 172, 212, 219, 231 Mniai, Hassan, 50, 113, 118, 140, 166 Al-Muqaffa, Abd-Allah Ibn, 100 Mniai, El-Mehdi, 99–100 El Murrakechi, Ahmed, 133 Mnouchkine, Ariane, 159 Murtajala (Impromptu), 207–8 Mohammed, 24, 28, 104, 235 Musset, Alfred de Mohammed, Abdelaziz, 231 Lucie, 69 Mohammed Bey, 61 Al-Mutribya, Algiers, 87–8 Mohammed V, 118, 121–2, 131, 135 Mohammed VI, 236 Naceri, Mohammed Mekki, 171 Mohl, Jules, 71 Nadira, 26–7 258 Index

An-Nahda at-Tamtiliya (The Theatrical Oulmakki, Abdullatif, 210 Renaissance), 123 Oulmakki, Naima, 210 An-Najma (The Star), 77 Orif, Mustapha, 183 Naimi, Kadour, 151, 153–4 Ouarda, Ibrahim, 168 An-Najjar, Makhlouf, 79 Ouaziz, Tahar, 119, 137 Napoleon III, 63 Ouettar, Tahar, 184 An-Naqqas, Sali Khalil, 76 Oufkir, Mohammed, 135 An-Naqqash, Maroun, 75, 87, 137 Ouzri, Abdelwahed, 84, 109, 139, 209 Al-bakhil (), 71 Fath el Andalous (The Conquest of Pailleron, Edouard, 65 Andalousia), 87 Pannewick, Friederike, 21 Fi Sabil el Watan (For the Fatherland), Pasolini, Pier Paolo 87 Pylade, 184 National Center of Circus Arts and Live Le Passage, Tunis, 86 Performances, Tunis, 174 Peele, Feorge National Center for Dramatic Art, Tunis, The Battle of Alcazarr, 58 211 Pellat, Charles, 10 National Center for Puppet Theatre, Peña, Don Manuel, 83 Tunis, 210 Pennel, C.R., 81 National Liberation Front Arts Perle des arts, Sousse, 211 Company, 125 Petit Théâtre de Douchet, Tunis, 67 National Theatre of Tunis (TNT), 173–5, Pirandello, Luigi, 190 214–15 Piscator, Irwin, 145 National Theatre Mohammed V, Rabat, Planchon, Roger, 121 139 Plautus, 9, 196 Naum, Jabran, 78 The Captives, 147 Nero, 12 The Handbagg, 144 New Theatre, Tunis, see Al-Masrah Politeama, Tunis, 65, 69 al-jadid Porto-Riche, Georges de, 123 An-Niffari, Mohamnmed, 197–8 Prison theatre, 127 Nordine, Douila, 189 Provost, M., 86 Noureddine, Mouna, 231 Puckler, Muskau, Hermann von, 39 Nugue, Charles, 119 Pujda, Morocco, 122 Nujum al-Fann (The Stars of Art), Tunis, , 9 123 Al-Qabbani, Abu Khalil O’Casey, Sean Ins al-Jalis, 76, 89, 96, 111 Red Roses for Me, 144, 147 Al-Quaraaqoz, 38–9 Odéon, Paris, 70, 212, 238 Al-Qarawiyin Mosque and University, Offenbach, Jacques 30–1, 49, 107–9 La Fille du Tambour Majorr, 65 Al-Qardahi, Jawq Sulayman, 75–7 , 65 Al-Qiyada an-Nissaiya (Women’s Ohnet, Georges, 65 Leadership), 93 Olivier, Alain, 148 Qissa, 23–5 Olson, Gary, 219 Quinn, Edward, 103 Omar, Hadj, 144, 146, 179, 181 Qu’ran, 2, 18, 23, 28, 32, 87, 104–7, Ong, Walter, 20 115, 235 Oran, Algeria, 63, 115–17, 143, 146, El-Qurri, Mohammed, 99, 108, 110, 115 150, 157, 159, 161, 184–6, 189 Al-Ilm Wa Nata-aijuhu (Knowledge Orellana, Hope, 83 and its Results), 108 Index 259

Rabat, Morocco, 51, 118–19, 122, 136, Rukibi, Abdellah 139, 236 Masra at-Tughaat (The Death of Rachid, Amina (Faiza al-Amri), 119 Despots), 116 Racine, Jean, 76, 123 Rusdi, Safya, 122 Rafool, 85 Rushdie, Fatimah, 85, 92–3 Al-Rahman, Kaki Wil Abed, see Ould Masra Kilyubatra (The Fall of Abderrahmane Cleopatra), 92–3 Rais, Abdelhaim, 126–7, 147 Rushdie, Salman, 221 Al ahd (The Vow), 127 Rwached, Abdellah, 133 Alwad el Casba (Children of the Kasbah), 127 As-Sa’ada (Happiness), Tunis, 117 Al-Khaalidoon (The Immortals), 127 Sabri, Wassila, 93 Nahu an-Nour (Towards the Light), 127 Saddiki, Tayeb, 50, 121, 139, 145, 160, Le Sermentt, 147 170, 194–5, 197, 206, 218, 220, 227 Rajae, Mohammed, 134, 172 Le Diner de Gala (The Gala Dinner), Rajwani, Fatima, 232 206–7 Ramadan, Awatif, 231 Diwan Sidi Abderrahman Al-Majdub Ramadani, Mustapha, 166 (The Collection of Master Rameau, Jean-Philippe Abderrahman Al-Majdub), 139–41, Les Indes galantes, 59 200, 205 Raouroua, Mohammed, 183 Al-fil was-sarawil (The Elephant and Rawi, Fatima, 232 Pants), 194–5 Regnard, Jean-François Maqamat Badia Ezzamane Le Joueurr, 59 El-Hamadani, 196 Resplandy, Jean Emile Ferdinand, 67 Sadgrove, Philip, 1, 71–2 Richard I, 75–6 Safiri, Abdelkader Richie, Pierre, 119 Deux-pièces-cuisine (Two Kitchen Richepin, Jean Pieces), 144 Le Sermentt, 69 As-Sahama al-Arabya (Arabian Gallantry), rebellion, 94, 98, 110, 117 Tunis, 77–8, 88–9, 92, 123 Al-Rihani, Najib, 85 Sahnoun, Omar Roblès, Emmanuel, 125 Tchach, 209 Montserratt, 125, 144 Saint-Exupery, Antoine de Rochdi, Chafia, 122 The Little Prince, 181 Rolling Stones, 42–3 Saint-Saens, Camille Rome, 9–13, 15 Samson et Dalila, 70 Rose, Jose de la, 83 Salafi movement, 101–2, 105–9, 111, 115 Rossini, Gioachino Sale, Morocco, 30, 108 Sémiramis, 61 Salhi, Kamal, 17 Rostand, Edmund Salvini, Alessandro, 65 L’Aiglon, 92 Sammoun, M., 25 Cyrano de Bergerac, 66 Sannou, Yacub, 80, 137 Rota, Giuseppe Saqui, Mme, 62 Beatrice Cenci, 65 Sardou, Victorien, 67 Roth, Arlette, 90 Fedora, 65 Rouiched (Ahmed Ayad), 144–5, 181, Patrie, 88, 98 183 Sartre, Jean-Paul, 124 El Bouaboune (the Concierges), 146 The Respectful Prostitute, 157 El Ghoula, 147, 161 El Saydia, 144 Hassan Terro, 144–5, 147 Sayem, Muncef, 134 260 Index

As-Sawab, 97 Société Dramatique Victorien Sardou, Sbeiba Festival, 46 Tunis, 67 Schechner, Richard, 39 Sonia (Mkio Sakina), 177, 184–5, 190–1 Schiller, Friedrich Sophocles, 147 The Robbers, 78 Antigone, 158 Scholl, Gottfried, 60 Electra, 181 Schuyler, Philip, 29 Oedipus, 69, 132 Scribe, Eugene, and Jean-Henri Dupin Southern, Richard, 39–41 Michel et Christine, 62 Sousse, Tunisia, 67, 76, 79, 134 Scott, Walter Soussi, Brahim Ahmed, 118 The Talisman, 75 Souissi, Ezzedine, 231 Sedaine, Michel-Jean Souissi, Khadija, 134 Le Déserteurr, 62 Souissi, Muncef, 133, 172, 174, 231–2 Semlali, Hedi, 93, 113 Stambouli, Mahboub, 80 Serreau, Jean-Marie, 148, 174 Stambuli, Khalifa, 111 Setif, Algeria, 189–90 Ana al-Jani (I am the Guilty One), 111 Sfar, Mustapha, 78 Aquibat al-Kaessi (The Consequences , Tunisia, 69, 79, 134, 211 of Drinking Wine), 111 Sghir, El-Meskini Asdiqa wal-Hiyanaou Araf askun Ithalit Bu-jma’ l-faruj (Bu-Jma the Rooster), (You Must Know with Whom You 200 Associate), 111 Shakespeare, William, 80, 123, 137, 147, Al-Flussi (Oh, My Money), 111 167–8 Al-Muizz li-Din Allah al-Fatimi, 111 Hamlett, 76, 79, 96, 132, 138, 142–3, Zyadat Allah al-Aghlabi, 111 168–9, 232 Stanislavsky, Constantin, 34 Macbeth, 142–3 The Stars of Art (Nujum al-Fann), 123 The Merchant of Venice, 124, 231 Stoppard, Tom Midsummer Night’s Dream, 181 Every Good Boy Deserves Favorr, 193 Othello, 73, 76–7, 79, 89, 93, 117, 132, Sue, Eugene 168–9, 174 The Wandering Jew, 65 Romeo and Juliett, 76–7, 79, 84, 88, Sufi faith, 32, 197–8 92–3, 96, 193 Sultan Tulba, 47–50, 169 The Taming of the Shrew, 147 Sunna, 28, 235 Shamam, Nacer, 133 Sharamane, Mohammed Tadili, Driss, 232 Adafadie Al-Kahla (The Black Turtles), Al-Hadh, 232 171 Le Rhinoceros, 171 Shawqi, Ahmed, 124 Al-Tahar, Ali Cherif, 86–7 Shushan, Faraj, 133 Achifa ba’d anâ (Cure after Testing), 86 Sid-Iketfi, 51–2 Badi’, 86 Sidi Bel Abbes, Algeria, 115, 143, 146, Khadîat el gharam (Passions Betrayed), 150, 156, 187–8 86 Sira, 23–4 Tahar, Arezki, 193 (Rusicada), Algeria, 13 At-Tahdib as-Safaqisi, Sfax, 79 Smain, Jadj, 159 Takchout, Rym, 190 Snouci, Mourad Tangier, Morocco, 30, 100, 118, 201, 229 Metzeouedj Fi Otla (A Husband on Tannus, Georges Vacation), 189 As-Sab wa Qayar (The Death of Caesar), Snoussi, Ahmed, 134 88 Snoussi, Hocine, 183 Tantaoui, Hasna, 235 Index 261

Tapia theatre, Tunis, 60–2, 63 The Thousand and One Nights, 17, 28, 30, Taroudant, Morocco, 30 33, 35, 72, 76, 90–1, 168, 231 At-ta’sis Al-masrahiya, Casablanca, 168 Tiemcem, Algeria, 190 Tawrat al-malik wa shaab (The TILMA, 118 Revolution of King and People), 122 , Algeria, 14 Ta’ziyeh, 169 Timgad Festival, 14 El Teatro, Tunis, 175, 210–11 Timoud, Mohammed Teatro Isabelle II, 63 Urss Al-Dib (The Wolf’s Wedding), 171 Teatro Espanol, Tetouan, 101 Tin Hinan, Sidi Bel Abbès, 187–8 Teatro Italiano, Tunis, 62, 67 , Algeria, 150, 158, 182, 191–3 Teatro Paradiso, Tunis, 65–6 Today’s Theatre Company (Masrah Teatro Rossini, Tunis, 68, 76–9, 88 al-Yawm), 84, 208–9 Temin, Mohammed, 58 Torres, Abdelkhalek, 99, 101, 107, El Temthil el arabi (The Arab Theatre), 110–11 Algiers, 87 Intissar Al-Haq (The Victory of Right), Terence, 9 101, 107 Tertullian, 222 Touri, Mohammed, 116, 124, 126, 144 Tetouan, Morocco, 63, 100, 107 Au café, 116 Teymour, Mahmoud, 189 Le comédien malgré lui, 144 Théâtre Brulat, Tunis, 65 Hier et aujourd’hui, 116 Theatre Cohen, Tunis, 64 Le Kilo, 116 Théâtre de la Mer, 151–4 Zat Zalamitt, 116 Et à l’aurore où est l’espoir (Toward the Sekkaj el Wahline, 144 Dawn, Where Hope Lies), 153 Treaty of Fez, 81, 83 Forma-Révolution, 152 Troupe Israélite, Sousse, 79 La Formi et l’Elephant (The Ant and Tuareg people, 52 the Elephant), 152 Tulaymat, Zaki, 123–4, 231 Mon corps, la voix et sa pensée Tunis, 58–65, 74–9, 88–9, 92–3, 121–3, (My Body, Voice, and Thought), 152 172–3, 210–14, 234 La Valeur de l’accord (The Value of Tunis al-Masrahiya (Theatrical Tunis), Agreement), 152 123 Théâtre de Plein Air, Tunis, 67 Théâtre Douchet, Tunis, 66 University Theatre Company, Morocco, Théâtre Français, Tunis, 65–7 142 Theatre Mohammed V, Rabat, 213, 219 Umanitâ, Sousse, 67 Theatre Municipal, Casablanca, 206–7 Utica, 10 Théâtre National Populaire, 121, 131, 139, 176 Valabregue, Antony, 78 Théâtre Nouveau, Tunis, 64 Verdi, Giuseppe, 66 Theatre of the Citadel (Masrah el Qalla), Aida, 76, 92 177, 180, 189 Rigoletto, 63, 69 Theatre of Criticism (Masrah a-naqd), 169 Traviata, 62 Theatre of Tomorrow (Mesrah El Ghadd), Vernet, Mme, 70 115 Le Veugle, Jean, 138 Théâtre pour enfants, Sidi Bel Abbes, Veuillet. Nathalie, 186 157 Vilar, Jean, 121, 131–2, 139, 146, 232 Théâtre Tunisien, Tunis, 67 Voisin, André, 119–21, 132, 136–7, 170 Theatre Phou, 211 Voltaire Théâtre Universel, Sfax, 211 La Mort de César, 88 Teatro Rossini, Tunis, 68, 76–9, 88 Oedipus, 80, 97 262 Index

Wahbi, Youssef Bek Nedjma, 174, 180, 184 Assahra (The Desert), 93 La Palestine trahie (Palestine Betrayed), Wamadat, Agadir 155 Tchach, 209 La Poudre d’intelligence (Powder of Wannous, Sadallah, 172 Intelligence), 148 Warchat Ibdae Drama, Morocco, 196 Le Roi de l’ouest (The King of the Wattar, Tahar West), 155 a-Shuhadaa Ya’oudouna Hatha al-usboue La Voix des femmes (The Voice of (The Martyrs are Returning this Women), 155 Week), 157 Yafil, Edmond, 87 Webber, Sabre, 20 Yakoubi, Larbi, 232 , 80–1, 85, 92 Al-Yazejie, Ibrahim, 102 World War II, 105, 110, 113–14 Years of Lead (sanawat ar-rassas), 135, 170 Worsham, Lynn, 219 Youssef, Moulay, 84 Youssefi, Abderrahman, 209 Yacine, Kateb, 3–4, 125, 145–6, 150, 152–7, Al Youssi, Hassan, 31 159, 179–80, 183–5, 187–8, 192–3 Les Ancêtres redoublent de férocité (The Zaghloul, Saad, 80 Ancesters Redouble Their Fury), 148 Zamoum, Ali, 151, 153, 156 Le Bourgeois sans culotte, 158 Zannetti, Napoleone, 65 La Cadavre encirclé (The Encircled Zarafi, Habib, 211 Corpse), 146, 148, 184 Zarruq. Mohammed and Abd al-Aziz Le Cercle des représailles (The Circle of al-Wislati Reprisals), 148 Jarati (My Neighbor), 98 La Guerre de 2000 ans (The 2000 Year Si Hamdun (Mr Hamdun), 98 War), 154 Zeami Motokiyo, 214 L’Homme aux sandals de caoutchouc (The Zemerli, Hassen, 231 Man with Rubber Sandals), 148–9 Zerouali, Abdelhaq, 197–9 Kahena, 155 Kidtu Arah (I Was about to See), 197 Mohammed prends ta valise Nechba, 198 (Mohammed, Take Up Your Zitan, Naima, 210 Suitcase), 150, 152–4, 157 Zmerli, Lahcen, 132