222

Notes

Introduction

1. Routledge World Encyclopedia of Contemporary Drama, Volume 4, ed. Don Rubin (London: Routledge, 1999).

2. For example, M. M. Badawi: Modern Arabic Drama in Egypt (Cambridge: Cambridge tUniversity Press, 1987), Early Arabic Drama (Cambridge: Cambridge University Press, 1988); Philip Sadgrove: The Egyptian Theatre in the Nineteenth Century (Durham: yUniversity of Durham Press, n.d.).

3. Salma Jayyusi and Roger Allen (eds), Arabic Writing Today: The Drama (Cairo: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 (Paris: 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 Maghreb in English is the highly

informative, but rather narrowly focused Strategies of Resistance in the Dramatic Textsof 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 Africa, 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 Maghreb1. Michael Brett and Elizabeth Fentress, The Berbers (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, Florida, XVIII, 3–5.4. Debra Bruch, “The Prejudice Against Theatre,” The Journal of Religion and Theatre 3:1 e

(Summer, 2004), 3. By the third century, Christianity gained more territory within theRoman Empire, 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 Christians 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 Islam as an essentially negative force in relation to theatre will be dealt with in a special section on this subject inPart II of the present study.

Notes 223

6. Augustine, Confessions, Book III, trans. and ed. R. S. Pine-Coffin (Baltimore, MD: Penguin, 1961), 55–6.

7. Augustine, The City 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 Algeria and Morocco (London: Routledge, 1990), 15.

2. Jacques Berque, Arab Rebith: Pain and Ecstasy (London: Al Saqui, 1983), 4.y 3. Kamal Salhi, “Morocco, Algeria and Tunisia,” in Martin Banham (ed.), A History

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 ordiglossia. While classical Arabic was to remain the model, and its formulaic grace of thought and expression survived embedded in everyday speech, Moroccan Arabicdeveloped 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’acteur (Louvain-la-Neuve: Cahiers r

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 (Latin: 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 Word (London:d

Methuen, 1982), 4.14. Sabra Webber, Romancing the Real: Folklore and Ethnographic Representation in North

Africa (Philadelphia: University of Pennsylvania Press, 1991).

224 Notes

15. Marie Maclean, Narrative As Performance: The Baudelairean Experiment (London: tRoutledge, 1988), 1.

16. Friederike Pannewick, “The Hakawati in Contemporary Arabic Theatre, in AngelikaNeuwirth et al. (eds), Myths, Historical Archetypes and Symbolic Figures in Arabic Literature (Beirut: Hassib Dergham, 1999), 337–48.e

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 conteur, 28–43.r27. 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 World (New York: New York University Press, 1992, 85–122).d30. Majid El Houssi, Pour une histoire du théâtre tunisien (Tunis: 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 West (Beylerbeyi, Istanbul: tIsis Press, 1991), explores the background of this character, along with the similar Molla Nasreddin of Iran, arguing that they are derived from Nasreddin Hoja, awell-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 mosque, 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 AbdellahHammoudi, 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 Marketplace,” in Donna Lee Bowen

and Evelyn A. Early (eds), Everyday Life in the Muslim Middle East (Bloomington: tIndiana 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) (Rabat:

Ministry of Culture Publications, 2002), 30. 8. Ibnu Arabi, “Al-mabadiu wal-ghayat,”in Khalid Belkacem, Al-kitabatu wa-ttasawufu

inda ibnu arabiy (Casablanca: Tubkal, 2000), 49.y 9. Elias Canetti, The Voices of Marrakesh: A Record of a Visit, translated from the German t

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 Art (Basingstoke: Palgrave Macmillan, 2006), 5.t14. 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 actingand stagecraft theories. These are spontaneous artists who make spectacles with-out recourse to any Western theory of theatre-making. One can even say thatthese 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 (Agadir, 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. Bujlud in Arabic means “the man with the skins.” The Berber titles for this d

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 rootHRM, meaning “to grow old,” hence Herrma, “the decrepit one.” But one might also think of Hermes… In brief, the word Bujlud and its Berber equivalents mean dalmost 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 West Africa (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 Caesar, Act I, scene 2.r16. Brion Gysin, in Brian Jones 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, AugustI

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 Paul Bowles 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 (Algiers: Societe

Historique Algerienne), 2–3. 3. Edmund Doutté, Magie et Religion dans L’Afrique du Nord (Paris: J. Maisonneuve, d

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, Sultan 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.c 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 MichiganPress, 1992).

12. Bakhtin, Rabelais, 122.13. Hassan Mniai, Abhat fi Al-Masrah Al-Maghrebi (Studies in Moroccan Theatre) (Meknes:

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 andextended his rule as far as Senegal via a well-organized army. After consolidating his power, he invested a great deal in diplomatic relationships with France during the reign of Louis XIV, and to a lesser degree England 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 adoucirleurs 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 (24May 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 History (Ithaca, NY: Cornell Universityy

Press, 2001), 3.10. Fernand Arnaudies, Histoire de l’Opéra d’Alger (Algiers, 1941), 116.r11. 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 Carthage,” 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 History (London: C. Hurst, 2000), 152.y

Chapter 8 The Developing Maghreb Stage 1. Jacques Ladreit de Lacharrière, La Création marocaine (Paris: Lavanzelle, 1930), 143.e 2. Hulbert Lyautey, quoted from Letters du Tonkin et de Madagascar, r 1894-1899

(Paris: 1920, p. 71), in Paul Rabinow, French Modern: Norms and Forms of the Social Environment (Cambridge, MA: MIT, 1989), 285.t

3. Charles Kuzman (ed.), Modernist Islam 1840–1940 (Oxford: Oxford UniversityPress, 2002), 6.

4. Abdellah Chakroun, A la Recontre du Théâtre au Maroc (Casablanca: Najah El cJadida, 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 waBa’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 péché (Paris: Belfond,é

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 Tangier 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 Spain controlled the city after the collapse of France in World War II in June 1940). For almost 23 years, Tangier was run by an inter-national council formed by delegates from the major countries that had accededto the Algeciras 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, andpoliticians who fell captive to its magical spell including Henri Matisse, Eugene Delacroix, Walter Harris, Jean Genet, and Paul Bowles along with his wife Jane Bowles. 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, Allen Ginsberg, Truman Capote, Gregory Corso, Ira Cohen, 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 Arabs and Muslims duringWorld 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 ewith a particular focus on the French colonial rule of the Maghreb. Arslan wasinstrumental in connecting independence movements in the Maghreb and the Mashreq. Thanks to his visit to Tetouàn and Tangier and his mentoring of anemerging 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 Alamat 4 (1995), 7.t13. 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 Méditerranée 19:1 (1975), 81.e

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 theArab/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 Europe (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 CulturalPolicy 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 World (Routledge:dLondon, 1999), 52.

15. Quoted by Allalou in “L’Aurore du théâtre algérienne,” Cahiers du CDSH, Oran H(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 management 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), BéchirDrissi again (2000–2), and since the year 2002 the actress Mouna Noureddine hasbecome 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 productioneof 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 OneNights) with the contribution of Egyptian artists such as the musician AbdelazizMohammed 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 awhole address to theatre, its conditions and problems in full details the way the Tunisian president did.” Mohammed Mediouni, Theatre in Tunisia (Sharjah: ArabTheatre Institute Publications, 2009), 57.

4. Ali Ben Ayad, in Mahmoud Al-Majri (ed.), Min Shawaghili at-taassisi lil masrahi at-tunusiy (Questions of the Formation of Tunisian Theatre) (Tunis: Jaridat Al-HuriyayPublications, 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 manifestocreated 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 theTunisian 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, hereturned to Tunisia and founded the El Kef regional theatre company. At an earlystage, 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’sspectacular 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 dupatrimoine arabo-musulman en vue de disséquer le quotidien social et politique de l’époque,” Le Théâtre Tunisien dans tous ses EtatsTT (Hammam-Sousse: Editions DarEl-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 cities 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 Hamlet for taudiences 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 withthe Mamoura: Malika Amaari, Fatima Rajwani, Zhour Mamri, Fatima Rawi, Driss Tadili, Mohammed Afifi, Ahmed Alawi, Larbi Yakoubi, Ahmed Tayeb Laalaj, AzizMawhoub… .

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-Arabiy (Beirut:y

A-ddar Al-Alamia, 1984), 55.14. Hassan Mniai, Al-masrah al-magrebiy mina t-tasisi ila sima-at al-furja (Moroccan

Theatre from Construction 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,”

Djazir 3 (Algiers, 2003), 30.r20. 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 openlychampioned 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. Kateb Yacine, “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–August1985), 17.

8. Kateb Yacine, Le Poète comme un boxeur (Paris: Seuil, 1994), 33.r 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 Gunpowder)rr

(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 Englishtranslation.

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 TheatricalProject (Rabat: Manshurat Itihad Kutab Al-Maghreb, 1991), 6.t

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 theco-founder of the southern Theatre Gafsa 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 ashis “method” of theatrical training, internships for directing the actors, multiplecommunications and interventions. His performances, such as Comedia, Familia,Desert coffee lovers, Junun, have great success in France, Germany, Belgium, Italy, Spain, Holland, Portugal, Sweden, and even Argentina, Korea, and Japan. Jaïbiwas the first Arab artist to be invited officially to perform at the 2002 AvignonFestival 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. Bertolt Brecht, “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?id�314 (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 (October2009), 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 Mondediplomatique (15 December 2003), 4.e

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 Tamanrasset,” posted 2/3/2008 on www.tamanrasset.cnet/article.item.1167.htm.

13. Tayeb Saddiki, Al-fil was-sarawil (Kenitra: Éditions Boukili, 1997).14. Ibid., 9.15. The maqama or assembly is an Arab artistic form. It is a long narrative poem.

The tradition of maqamaf started in the eleventh century when Badie a-Azzamanal-hamadani composed his first maqama. Though it has dramatic characteristics, the maqama cannot be regarded as a complete play destined for the stage. JacobLandau 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 theform 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 bsat)t(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 asMinister 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 forThird 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, andknows the Sunna of the Prophet Mohammed, and all that concerns everyday-lifepractice 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 areall 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 intermedialinhabits a space in-between the different realities that the performance creates and thus it becomes, at the minimum, a tripartite phenomenon.” Freda Chappleand 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 percentwere 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 thetotal seats in all Morocco. For more details on the current situation, see also AminaTouzani, La culture et la politique culturelle au Maroc (Casablanca: Édition la croiséecdes 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. Thisprocess continued with his son, King Mohammed VI; however the Truth andReconciliation Commission chose a non-punitive approach that highlightedrepressed narratives rather than the explanation of what happened and itslegal 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 thedramas that relate the experience of imprisonment in Morocco. It was writtenby Mohammed Amin Ben Youb, a Professor of Theatre at ISADAK whose brotherwas a political prisoner for eight years. The play was put onstage by the Kasbahcompany 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 anda 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 Forum 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 November1987 and 14 January 2011 after a peaceful medico-legal coup d’état againsttPresident Bourguiba who was declared medically unfit for the job. Ben Ali took up the presendency of the republic 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 percentageof the national budget devoted to the cultural sector, which was originally around 0.25 percent after independence. It was multiplied by 10 in 2009; theestimation today stands at 1.1 percent of the annual budget of the state. Themissions assigned to the Ministry of Culture in the artistic field are: To promote,coordinate and harmonize cultural activities and to ensure the development andexecution 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, democratizationof 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 companyper 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 writersand theatre directors.”

We have just learned that, the Consultative Commission called “Orientationthéâtrale” 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 thisplay, Jalila Baccar and Fadel Jaïbi, have been at the heart of the theatre rebirth inTunisia 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 beenacclaimed 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, throughthe pure magic of theatre, the violence of radicalism and the creeping ideology lying underneath it, legitimizing crime. How can a regime supposedly based onmodernity 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, Identity (London and New York: Routledge, 1994),y74. 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 isthrown 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 différanceprecedes 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 basedon Hegelian dialectics and Western metaphysics; and an ever-impossible “retouraux 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 toerase 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).

240

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Index

Aba, NoureddineLa Récréation des clowns, 185

Abbaba, Algeria, 149Abbar. Azzadine, 157, 187–8Abbas, Khedive, 80Abd-el-Kader, 61Abdeall, Mohya, 157Abdelhadi, Tawfiq, 133Abdennadher, Mohammed, 134Abderrahmane, Ould (Kaki), 4, 143–4,

147, 152, 176–9, 183, 187132 Sana (132 Years), 145Afriqiya Qahl al-Aam Waahid (Africa

before the Year One), 145Beni Kelboune, 150Diwan el Garagouez, 145El Guerrab wa Essalhine (The Water

Bearer and the Marabouts), 145Koul Ouahed ou hukmou (Each

according to his own judgement), 145

Sha’b uth-Thulma (The People of the Night), 145

Tarikh Essahra (The Legend of theRose), 144

Abiad, George, 80, 85–6, 88–9, 97, 123–4Abidat r’ma, 35El-Abrak, Jamal Eddine, 235Al-Achàri, Mohammed, 210, 236Achard, Frédéric, 65Achour, Tawfik, 132Action culturelle des travailleurs

(Workers’ Cultural Action, ACT), 153, 158

Al-Adab al-Arabiya (Arabian Letters), Tunis, 77–8, 88, 96

Adet, Georges, 118Afifi, Ahmad, 77Afifi, Mohammed, 232Agadir, Morocco, 193, 203, 209Agar, Madame, 65Al-Aghaliba, 111Al-Agrebi, Mohammed, 92, 123, 132, 231Ahmed I, 62

Ahrar, Latifa, 171El-Ajwad, Oran, 184Al-Akoudi, Ibrahim, 78, 89Aladin, Sidi Bel Abbès, 189Alaoui, Kamal, 134Al-Alaoui, Mohammed Bel-Arbi, 106Alaric, 13Alawai, Ahmed, 232Algerian National Theatre (TNA), 126–8,

143–52, 156, 159, 161, 165, 177, 180–3, 186, 189–91, 193, 219

Algiers, 60–1, 71, 86–7, 90, 93–5, 116, 125, 157–9, 186, 192

Algiers Opera, 63, 86, 115–16, 124, 143 Ali, Noureddine, 211Ali Agha, 59Ali Bey, 58El-Alj, Bachir, 118Allalou (Sellali Ali), 90–1

Djeha, 90Zouaj Bou Akline (The Marriage of Bou

Akline), 91Alloula, Abdelkader, 4, 145–6, 159–66,

176–9, 181, 183–5, 187, 218, 220Al-Agouwâl (The Sayings), 161–3, 165,

180El-Ajwad (The Generous Ones), 162–3,

165, 184–5Chaab Faq (The Awakening of the

People’s Conscience), 185La Générale, 185Hammam Rebbi (The Baths of

Bon-Dieu), 161Homk Salim, 150, 159, 185El Khobza (Bread), 159, 186Laalaq (The Leeches), 147El-Lithem (The Veil), 162–3, 184–5El Meida (The Table), 159–60Nassine oua salatine, 189El Wjb el Watani (The National Duty),

185Alloula, Raja, 176, 184Amaari, Malika, 232Amalric, Mathieu, 186

247

248 Index

Amazight theatre and culture, 2, 9, 19–20, 24, 27, 44, 101–2, 108, 134, 151, 154–5, 157, 182, 190–3, 203

Amed (Hope), Blida, 115–16El Amiri, Taha, 125Amour, Hammadi, 121And, Metin, 224Annaba, Algeria, 115, 143, 181, 189–90,

192Annahdha, 97Anouilh, Jean, 124Antonin, Emperor, 11Antun, Farah, 86 Aouche, Mme., 191Apulieus, 11–13Aquarium Theatre Company, 210

Hkayaat Nssa (Women’s Stories), 210Min Ajlihim (For Them), 210Qabla Al-Futur (Before Breakfast), 210r

Arab Maghreb Liberation Committee, 122Arabi, Ibnu, 32Arabian Nights, see Thousand and One

NightsEl Aras, Oran, 146Arezki, Mfouke, 192Arena, Tunis, 64–5Aristophanes, 147

Parliament of Women, 139El-Arkoubi, Youssef, 198–9Arslan, Shakib, 100, 101, 229L’Art Scénique, Sidi Bel Abbès, 187Artaud, Antonin, 119–20, 170Ashura Festival, 40, 46, 51, 74Assala, 32Association of Algerian Muslims

(AUMA), 110ATAWAKEL, 137L’Atelier, Sidi Bel Abbès, 187Augustine, 13–14, 46Augustus, 10L’Avenir, Tunis, 67Avignon Festival, 158, 234Ayachi, M’mida, 188Ayad, Ahmed, see RouichedAyad, Ziani Chérif, 177, 179–80, 183

L’étoile et la comète (The Star and the Comet), 180

Ayadi, SamirAtchan ya sabaya, 172

Al-Ayoubi, Salah El-Din, 75, 102

Ayyoub, HabibLes Adieux, 186

Al-Azdi, Ahmad Abu’l-Mutahhar, 15Al-Aziz, Abd, 74Aziza, Mohammed, 103–4Azzefoun, Algeria, 191

Baccar, Jalila, 134, 172, 212–13, 237Araberlin, 212In Search for Aida, 212Junun, 212, 234Khamsoun (Captive Bodies ), 212, 237Yahia Yaïch (Amnesia ), 212–13

Bachedjerrah, Dhelloul, 91Bachtarzi, Mahieddine, 87–8, 90–1, 95,

114–17, 124–5, 146, 156Béni Oui Oui (Those who always say

yes), 105Boutchenchana (Cocaine), 95Bouzarai fi al askar (The Peasant in ther

Regiment), 95Doulet Ennisa, 124Al-en-nîf (Duty), 95Les Femmes (Women), 95El Kheddaïne (The Traitors), 95–6, 105Ma Yenfaa ghir Essah (Only the Truth

Counts), 95, 144El Ouadjib (Duty), 105Zid’ayat, 95

Badawi, M.M., 1, 4, 38, 103Baghdad, 23, 25Bahraoui, Hassan, 33Bahri, Youssef, 215

Haqaib (Suitcases), 215Bakhti, Mohammed, 156

Anti oua Ana (You and I), 156Djelssa Merfoua (Getting-up Session), 157Ya Ben Ammi Ouine (Oh, Cousin,

where are we going?), 157 Bakhtin, Mikhail, 49Bali, Hajar, 186

Le Détour, 186rLe Testament, 186t

Banan, Aliaa, 78, 85Banan, Hasan, 85Bank, Federico, 83Banan, Hasan, 85Bannan, Alya, 78El Baoundi. Abdessatar, 134Barba, Eugenio, 40

Index 249

Barbarossa, 57Barbary Corsairs, 58Baron, A.M., 68Barthes, John, 35Al-Basri, Mohammed Ahmed

Shraa atana rbaa, 232Batna, Algeria, 150, 177Beaumarchais, Pierre, 137

The Barber of Seville, 69, 121, 196Beckett, Samuel, 144, 171, 175, 187

Endgame, 142, 188Waiting for Godot, 148t

El-Bedaoui, Bouchaib, 118Bejaia, Algeria, 150, 177, 180–1, 189–90,

192–3Bekri, Tahar, 3Belbey, Malika, 184Belhadj, Nesrine, 190Ben Abdalla, Mohsen, 172, 231Ben Aicha, Abdellah, 58Ben Ali, Zine El Abidine, 210, 214, 237Ben Aarafa, Mohammed, 122Ben Abdellah, Sidi Mohammed, 50Ben Amar, Rajae, 134, 172Ben Ayad, Ali, 132–3, 172, 231Ben Ayad, Mohammed, 121Ben Badis, Abd al-Hamid, 110–11Ben-Cheikh, Mohammed

Intissar al-baraa (The Victory of Innocence), 99

Ben Friha, Chadi, 85, 89 Ben Kamla, Ali, 89Ben Marbouk, Yahia, 125Ben Rachid, Noureddine, 93Ben Saddik, Ahmed, 104, 207Ben Said, Mohammed, 119Ben Tijani, Hamda, 92, 113Ben Youb, Mohammed Amin

Al-Karnaval, 236Ben Zidane, Moulay Tabeb, 119Benaïssa, Slimane, 146, 148–9, 153, 155,

158–9, 176, 179, 183Babour eghraq (The Ship Sinks), 158Babour ghraq (The Ship Sails On) Boualem zid el Gouddem (Boualem,

Go Forward), 149–50El mahgour (The Scorned), 158, 181Youm el Jhem’a (Friday), 158

Benbouchta, ZoberLalla J’mila, 200–2, 235

Bendejedid, Chadli, 176Benguettaf, Mohammed, 146, 177, 183

El Ayta (The Cry), 177Bab el Foutouh, 150Baya, 177Bliss Laouer Kayen Mennou (The Blind

Devil Truly Exists), 146Le dernier des prisonniers (The Last of

the Prisoners), 177Fatma, 177, 186, 190–1, 193Journal d’une femme insomniaque (Diary

of an Insomniac Woman), 184, 190Les Martyrs reviennent cette semaine

(The Martyrs Return this Week), 184Benhamamouch, Jamil, 185Benjamin, Walter, 33Bennani, Mohammed, 118Benshmicha, Hocine, 188Benhsmicha, Kada, 187–8

Adel, 187Les Clowns, 187M’kaidech, 187L’oeuf blue (The blue Egg), 187–8Le Rossignol et l’oiseau méchanique

(The Nightingale and the Mechanical Bird), 187

Ulysse, 188Benyoub, Mohammed Amine

The Karnaval, 210Benyoucef, Messaoud

Dans les ténèbres gîtent les aigles (Eagles Dwell in the Shadows), 186

Berber. See amazightBerber Decree, 100–1, 108, 110Berber spring, 158Bernhardt, Sarah, 65, 80, 92

Love, 92Bernziza, Lahsen, 35Berrchid, Abdelkrim, 166–8, 231

Imruu al-qays fi-Bariz, 168Otayl wal-Khayl wal-ba-rud (Otayl,d

Horses and Gunpowder), 168A-Zawiya, 171

Bey, Maïssa Filles de silence, 186

Bhabha, Homi, 109, 219–20Bharucha, Rustom, 219Al-Bidaoui, Bouchaib, 118Biskra, Algeria, 190Blahi, Abdelkader, 187

250 Index

Blida, Algeria, 87, 115–16Bolo, Etienne, 127Bonbonniere, Tunis, 68Bordj El Kiffan, Algeria, 143, 147, 179,

183, 185Bouabid, Abderrahim, 118Bouajila, Sam, 186Bouanani, Samir, 189Boubrioua, Ahcène, 159Boudia, Mohammed, 127–8, 143, 146,

232Naissancers, 128L’Olivier, 127r

Boudiaf, Mohammed, 158, 192Boudjedra, Rachid

al-Halazoun al-A’need (The Stubborn Snail), 157

Bouguermouh, Malek, 181 Boujellatia, Mohammed, 134Boulbyar, Aziza, 134Boulayman, Ahmed, 77, 89, 97, 113, 123Boulifa, Mohammed, 183Boumedienne, Hourai, 143, 145, 158Boumedienne, Sirat, 145, 177Bourguiba, Habib, 122, 124, 131–3, 213,

231, 237Bourguiba, Mohammad, 77, 79, 88, 91–2

At-Tagya (The Tyrant), 97Bouteflika, Abdelaziz, 177Bouzar, Wadi, 146Box, Laura Chakravarty, 222Bowles, Paul, 42–3Bradbury, Ray

La colonne de feu (The Column of Fire), 188

Destination cratère de Chicago, 187Bravmann, René, 41Brecht, Bertolt, 21, 33, 144, 147, 170–1

Caucasian Chalk Circle, 146The Exception and the Rule, 157Good Person of Setzuan, 181Herr Puntila, 188Interview with an Exile, 175The Measures Taken, 181The Mother, 173rPetty Bourgeois Wedding, 173ggPrivate Life of the Master Race, 163Señora Carrar’s Rifles, 144

Brockett, Oscar G. and Frank Hildy, 103Brook, Peter, 206

Brulin, ToneThe Dogs, 144

L’bsat, 50, 52, 118tBujlud, 40–2, 52Al-Bukhari, 104Burroughs, William, 42Bussat, 83

Caesaria, see CherchellCafé Kharief, Tunis, 74Café-Théâtre, Casablanca, 139Café-Théâtre, Tunis, 67Calderon, Pierre

Life is a Dream, 143, 147Camera, Lopez, 63Camus, Albert, 125

Caligula, 132Candas, Georges, 65Canetti, Ellias, 33Caracol, Manuel, 83Carlin, 59Carlson, Marvin, 50, 222Carthage, 9, 11, 13–15, 69–70Carthage Festival, 14, 155, 157, 179, 214Carton, Louis, 69–70Caruso, Enrico, 83Casablanca, Morocco, 122, 139, 193,

200, 206, 236Casino Plage, Sousse, 67Castro, Estrella, 83Cercle des etudiants de Ben-Aknoun, 155Ceremonial Theatre, see Al-Masrah

Al-IhtifaliaCervantes, Miguel de

The Siege of Naumantia, 147A-Chabab al Qayrawani (Kaiouanian

Youth), 111Chakroun, Abdallah, 83, 118–19

Le secret Absolu, 118Chapman, George

The Conspiracy of Charles, Duke of Byron, 58

Charfeddine, Moncef, 58Charles II, King of England, 58Charles X, King of France, 61Chateaubriand, François

The Last of the Abencerages, 86Chekhov, Anton

Swan Song, 182ggChelkowsky, Peter J., 103

Index 251

Chen, Chu SuMonnaies d’or, 147r

Cheniki, Amed, 150Cherchell (Caesaria), Algeria, 10, 14, 46,

149Cherqui, Gérard

Alger-Alger, 186rChouak, Aziz

El Maestro, 186Chrysalide, 186Cicolo Europeao, 62Clauzel, Bertrand, 61Cleopatra, 10Cleopatra Selene, 10Cohen-Tanugi, David, 64 Combined Company (al-Firqa

al-Mokhtalita)a , 85The Comedy Theatre (al-Masrah

Fukaahi), 96Comédie Française, 14, 65–6, 70, 119–20,

136, 180, 184–5Comédie Italienne, 59Constantine, Algeria, 63, 110, 115–17,

143, 151, 159, 177, 189–90Conteh-Morgan, John, 4Coppée, François

Pour la Couronne (For the Crown), 97Coquelin, Constant, 66Corneille, Pierre

Le Cid, 79, 111, 191Horace, 80Polyeucte, 14, 70

Courteline, Georges, 69The Crescent (al-Hilal), 88, 89, 92Cypriani, Homere, 66

Dahmoune, Brahim, 90–1Daif, Bouselham, 171Dakkar, Hakim, 189Damis, J., 106Daniel, Ibn, 38Daninos, Abraham

Nazahat al-Mushtaq (The Pleasure Tripof the Enamoured), 71–2

Daudet, Alphonse, 69Davis, Stephen, 42–3De Gaulle, Charles, 114, 128Dejeux, Jean, 224Delarue-Mardus, Lucie

La Prêtresse de Tanit, 70t

Delavigne, Casimir, 80Deleuze, Gilles and Felix Guattari, 220Delvair, Mme, 70Demarcy, Richard

Les Mimosas d’Algérie, 185Dennery, Adolphe, 65, 89Derdour, Ahcène, 115Derrida, Jacques, 12, 218Derham, Mohammed, 198Destour Party, 96Dhalila, Haja Bali, 184Di Castelnuovo, 64Dido, 9Dinya, Abdessamad, 232Djedidi, Hafedh, 134, 173Djenina palace, Algiers, 61, 63Doghmi, Mohammed, 118Don Sebastian of Portugal, 57–8Donizetti, Gaetano

Bélisaire, 61La Favorite, 64Lucie de Lammermoor, 61r

Douagi, AliAl Amira Banga (The Princess Banga),

93Douchet, Jacob, 66Doudou, Aboul Id

at-Turaaab (The Soil), 116Dougga, Tunisia, 11, 14Doughmi, Mohammed, 121Doutté, Edmond, 46, 51, 74, 226Dozy, Reinhardt, 26Driss, Mohammed, 134, 172, 174–5, 188,

214–15L’Héitage (The Legacy), 174Rajel Wa Mra (A Man and a Woman),

214–15Drissi, Béchir, 172, 231

Al Ghoussoun al Homr, 172rDucange, Victor, 89Dullin, Charles, 119Dumas, Alexandre, 62

Catherine Howard, 76La Tour de Nesle, 88

Dumas, Alexandre fils, 65L’Aventurière, 65

Dunant, Henry, 61

The Educator (al-Mouhaddiba ), 86Eagleton, Terry, 49

252 Index

Eden Theatre, Kairouan, 67Egyptian Company (Koumidia el Masria(( ),

74Eid, Aziz, 92Eisenhower, Dwight, 114Elaïdi, Abdou, 186 Elizabeth, Queen of England, 58Ennasser, Mohammed, 57Erdman, Nikolai, 190

The Suicide, 188Errazi, Mohammed, 115

Le Justicier, 115rLes Trois Voleurs, 115Le Voleur de minuit, 115t

Errkik, Youssef, 133Essaiem, Muncef, 211l’Essor, Tunis, 67, 69–70, 79Etoile du Nord, Tunis, 211Etoile Nord- Africaine (ENA), 94El Eulma, Algeria, 190Experimental Theatre Festival, Cairo,

214–15Ezzahia, Algiers, 91

Faizo, Lufti, 25–6Falaki, Reda, 115Familia, Tunis, 212, 215, 234

Coffee Lovers Desert, 212, 234tComedia, 212, 234Familia, 212, 234

Fanon, Frantz, 21–2, 221Farag, Alfred, 3

Alif Lachey Alik, 134Zir Salem, 134

Farah, IskandarMatami an-Nisa, 76

Farhat, Raja, 134Al-Fassi, Allal, 99, 106El-Fassi, Latifa, 119 Fellag, Mohammed Said, 190–2

Les Aventures de Tchop, 189, 191Un bateau pour l’Australia, 192

Femmegan, Ruth, 20Ferhan, Razika, 193Fertat, Omar, 230 Fetmouche, Omar, 193

Harf B’harf, 181ffFez, Morocco, 19, 30–1, 46–9, 83–5, 100,

107–11Fischer-Lichte, Erika, 33–4, 205

Fichet, Alexandre, 67, 70Fiebach, Yoachim, 28Filippo, Eduardo de

The Art of Comedy, 191Firqat Achabiba Al-Fassiya (Fez Youth

Company), 108Firqat Al-Mamoura (Mamoura Theatre

Company), 122, 136, 138, 170, 232Firqat al-Mokhtalita (Combined

Company), 85Firqat An-Najm Al-Maghrebi Lit-Tamthil

Al-Arabiy (The Maghreb Star of Arabic Acting

Company), Fez, 111Firqat as-Saada (Happiness Company),

Tunis, 96Firqat At-Tamthil Al-maghribi (The

Moroccan Theatre Company), 122, 136

Firqat Wassila Sabri (Wassila Sabri Company), 93

Flores, Lola, 83Fly-whisk affair, 61Foley, John Miles, 223Folies Bergères, TunisFrazer, Sir James, 41, 46–8Fridou, Kenza, 235Frisch, Max

The Firebugs, 181

Gafsa, Tunisia, 134, 172, 174, 210–11, 234Gafsi, Rajah, 134Galano, Jo, 65Gallego, Antonio, 83Garara, Dalenda, 211Gassner, John, 103Gèze, François, 183El-Gharbi, Mohammed, 133Al-Ghazi, Mohammed, 107Ginioux, Hubert, 139Goddard, Benjamin

Ruy Blas, 64Gogol, Nicolai

The Nose, 187Diary of a Madman, 159, 182

Goldoni, CarloThe Servant of Two Masters, 134, 165

El Gosto, Marseilles, 180Gounod, Charles

Faust, 64–6t

Index 253

Gouri, HamidEl Houb fi bilad el hidjara, 189El-Tarous (The Hunting Dog), 189

Gouwâl, 18–19, 23, 145, 147, 150, 160, 162, 217

Gozzi, CarloThe Green Bird, 144

Gran Teatro, Tunis, 64Gran Teatro Cervantes, Tangier, 83Grandmougin, Charles

La Mort de Carthage, 70Gribi, Mustapha, 115Gringa, 65Groupe d’action culturelle, 159

Errafd (The Refusal), 159Lahal Idoum (Time Past), 159Nass El Houma (People of the

Neighborhood), 159Rih Essamar (The Wind of the

Attorneys), 159Grotowski, Jerzy, 206Guellaty, Hassan, 78Guelma (Calama), Algeria, 10–11, 14, 149Guesmi, Jaafar, 215Guevara, Che, 145Gysin, Brion, 42

Hached, Farhat, 122Hachemaoui, Fadela, 186Al-Hachmi, Halima (Habiba Medkouri),

119El-Hachemi, Nourredine, 181Al-Haddad, Mohammed, 99

Kalila wa Dimna (Kalila and Dimna), 100

Al-Haddad, Najib, 75–7, 102Haroun Ar-Rachid Wal-Baramika

(Haroun Ar-Rachid and Al-Baramika), ((89

Salah El-Din al-Ayoubi, 75–6, 85–6, 89,91, 96, 102, 107

Taratu el arab (The Revenge of the Arabs), 86

Al-Walid Ibn Abd Al-Malik (Ibn, Son of Abd Al-Malik), 100

Haddad, Youssef Rachid, 19, 24El-Hadj, Faouzia, 193

Awlad el Qasaba (Children of the Kasbah), 147

Business is Business, 193

Douaa el hamam (the Prayer of the Doves), 182

Laachia, Aaouicha wa el harraz (The Lover, Awicha and the Charlatan), 182

El-Hadj, Hamida, 182, 193 Hafid, Moulay, 81Haft, Mohammed, 80Haiyat, Yusef, 75Hakam, Abderrazak, 118Hakawati, 18, 21, 24–6, 29Hakim, Azouz, 101Al-Hakim, Tewfik, 172

The Sultan’s Dilemma, 144, 147Halaf, Muhriz Ibn, 14Halioui, Hadi, 133Al-halqa, 18–19, 26–37, 140–1, 145, 150–1,

154, 160–2, 165–7, 195–206, 217–20Al-Halqa, Sidi Bel Abbès, 188Al-Hamadhani, 26Hamat Asma, Blida, 116Hamid, Abd al-Haq

Tariq ibn Ziyad, 117Hamidou (Ahmed Ben Messaoud), 118Al-Hamis, Bayram, 63Hammam-Lif, Tunisia, 123Hammar, Mokrane, 192

Imehbas (The Prisoners), 192Hammoudi, Abdellah, 40, 42, 224Hamouda, Djamel, 189

Djamila, 190Khabat Kraou, 189Zbida Ezzel, 190Zbida Show, 190

Hamrouni, Abdellatif, 134Al-Hariri, Mohammed Al-Qasim, 26Harouda, Aicha, 32Harrba, 32Haskouri, Ahmed Belbachir, 122Hassan II, 50, 135–6, 170, 236–7Havel, Vaclav

The Memorandum, 181Helilou, Dalila, 190Herodotus, 12Heywood, Thomas

If You Know Not Me You Know Nobody,58

The Life and Death of Captain Thomas Stukeley, 58

High Institute of Dramatic Art, Morocco, 199, 208

254 Index

Hijazi, Ibrahim, 77, 88–9Hijazi, Salama, 85–6Hikaya, 25Hikmet, Nazim, 146Al-Hilal (The Crescent), Tunis, 88–9Al-Hilal El Djazairi (The Algerian

Crescent), 91–2Hirschler, 66Hoenerbach, W., 38Hopwood, Derek, 38Houhou, Ahmed Rida, 115–16

Malakat Gharnaata (The Queen of Granada), 115

El Houssi, Majid, 25Hugo, Victor, 69, 79, 123

Hernani, 76Les Miserables, 65

Al-Husni, Hasan, 127

El-Ibdae, Oran, 185Lbsaytiya (the bsat people), 196

Ibn Khaldoun Theatre Company, 235Ibrahim, Abdellah, 118Ibrahim, Hafez

Chahid Beirut (The Martyr of Beirut), 80Ibsen, Henrik

A Doll’s House, 181Id el-kbir (Feast of Sacrifice), 40–1, 51Ihtifali (Carnivalesque) theatre, 145Imperial Theatre, Algiers, 63Ionesco, Eugene, 187

Amédée, 139The Bald Soprano, 144Rhinocerous, 181

Al-Itytihad Kawakib al-Tamil (The Planets’ Theatrical Union), Tunis, 123

Al-Itytihad al-Masrahi (The Theatrical Union), Tunis, 97, 112

El-Jadida, Morocco, 121, 137

Jagger, Mick, 43Jaïbi, Fadel, 134, 172–3, 211–14, 234

Arabs, 173Jaibi, Mohammed

as-Sultan Byn Judraan Yaldiz (The Sultanbefore the Walls of Yaldiz,), 77

Al-Jalali, Mohammad ibn al-Abid, 110Jamaliyaat al-estitraad (The Aesthetics of

Digression), 172

Jasmine Revolution, 213Jawks, 88Jawq an-Nahda Al-Arabviya (Company

of Arab Rebirth), 83El Jawk Al-Tanji Li-Tamthil Al-Arabi

(Tangier Ensemble of Arabic Acting),100

Al-Jawzi, Ibn, 23–4Jaziri, Fadel, 134, 172–3Jebali, Tawfiq, 133, 174–5, 210–11

Klem Ellil (Night’s Talks), 210–11Klem Ellil 9/11, 211Loussous Baghdad, 211Mémoire d’un Dinosaure (Memories

of a Dinosaur), 175Jebrane, Touria, 209Jemma-el-Fna, Marrakesh, 31, 140, 196,

219–20Jenan El-Harty, 85Jil Jilalla, Morocco, 198Jimeze, Armstrong Diego, 83John, King of England, 57Jones, Brian, 42–3Jonson, Ben

Volpone, 139El Joudi, Jamil, 134Juba II, 9–10Julius Caesar, 9, 42Justinian, 14

Kabyle language, 155, 157, 192Al-Kabbani, Abi Khalil, 137El-Kadmiri, Ahmed, 118El Kaghat, Mohammed, 32, 137, 207–8

Assatir Muassira (Contemporary Myths), 171

Murtajalat Chmisa Lalla, 208Murtajalat Fes (The Impromptu of

Fez), 207Kahina, H.M., 162Kairouan, Tunisia, 67, 79, 111, 134Kairouanian Youth (As-Sabab al

Qayrawanti), 111Kaki, see Ould AbderrahmaneKanfaoui, Abdessamad, 119Kaouah, Abdelmadjid, 160Kaouti. Mohammed

No Man’s Land, 171Kapchan, Deborah, 18Karabaka, Abderrazak, 89

Index 255

Karagoz, 38–9, 59, 74Al-Kasba Theatre Company, 210Kasbaoui, Noureddine, 132Kataev, Valentin

Squaring the Circle, 181Kateb, Mustapha, 125–8, 143–4, 179,

181Al-Kawkab al-Tamili (The Theatrical

Star), Tunis, 112, 123Keddadi, Ahmed

Hal Wa Ahwal, 134El Kef, Tunisia, 134, 172, 174, 210, 231Keltoum (Adjouri Aïcha), 93, 117,

126–7, 146, 182Kenfaoui, Abdessamad, 137El Kewkeb, Algiers, 95Khaled, Emir, 79Khalil and Yazji

Vertu et Fidélité, 80Khatibi, Abdelkebir and Mohammed

Sijelmassi, 104, 221Khayal al-zill (shadow theatre), 38Al-Khazmy, Ali, 78Kheddaoui, Si Moussa, 115–16

Les Malheurs du pauvre (Sorrows of the Poor), 116

Kherroufi, Allel, 181Khetmi, Fadhil, 93, 97, 123Khetmi, Fachla, 93Khoudi, Ahmed, 180–1, 190, 192

Hommage à Aït Menuellet, 184Le Kassem (The Oath), 181

Al-Khozai, Mohammed, 103Khraief, Mustapha

Al-Kahina, 98Koffi, Flangon Rogo, 4Koltès, Bernard-Marie, 205El Korchi. El Mekki, 183Kouiret, Sid Ali, 126–7Kouka, Mohammed, 231Krtnsks, Abd-al-Razzaq, 85Ksentini, Rachid, 91, 93–4, 116, 144–5

El-ahed el-wafl (The Faithful Vow), 91Dar-el-mhabel (The Insane Asylum), 94Faqo (They Woke Up), 95Er-raqed (The Sleepers), 93dZouaj Bou Borma (The Marriage of Bou

Borma), 91Kursaal, Algiers, 86–7Kuzman, Charles, 82

Laalej, Ahmed Tayeb, 121, 170–1, 196–7, 232

A-Chattab (The Sweeper), 137Juha wa chajarat a-tufah (Juha and the

Apple Tree), 197Tamrin al-Akbach (Sheep’s Rehearsals),

170Laalaj, Bachir, 118Laalej, Tayeb, 137Labiche, Eugene, 123Workers’ Theatre (Masrah al-Ummali),

139La Camago, 59Lacharrière, Jacques Ladreit de, 82Lacoste-Dujardin, Camille, 19Lahbib, Mohammed, 97, 113

Al-Watiq Billah al-Hafsi, 97Yawm Gharnata (The Day of Grenada),

113Lahlou, Nabil

Ophelia n’est pas Morte (Ophelia is not Dead), 141–2

Al-Sa’aa, 141Les Tortus (Turtles), 171

Lakhal, Mahieddine, 116Lakhdar, Saim, 115, 156Lakhmiri, Taher, 132Landou, Jacob, 103, 235Lang, Jack, 147Laoust, Emile, 41Lardjam, Kheireddine, 184–5La Scala, Tunis, 65L’bsat, 50–2, 168, 195–6tLecocq, Charles, 65

Giroflé-Girofla, 65La Petite Mariée, 65

Leon l’Africain, 46Lesskov, Nikolai, 33Le Tourneau, Roger, 19Liceo Rafael Calvo, Tangier, 83Lissan Achab (The Voice of the People),

97Living Theatre, 151–3Lixus, Morocco, 10–11Lope de Vega, Felix

Fueteovejuna, 182Lorca, Federico Garcia

The House of Bernarda Alba, 132, 181Yerma, 132

Lotfi, Rachina, 92

256 Index

Loti, Pierre, 49Louati, Ali, 133Louis XIV, 58Louis-Philippe, 62Lyautey, Louis Hubert, 82–3

Mabru, ZakiShuhadae al-Wataniya (Fatherland), 88

Maclean, Marie, 20Madani, Azzedine, 132, 172, 231–2

Ala al-Bahr al-Ouafir, 174rEL Hallej, 134, 172Mourad III, 132ISahib al-himar (The Donkey Owner),

132Al-Madani, Ahmed, 116–17

Hannibal, 116–17Al-Madina, Cheikh, 97El Maghout, Mohmed

Galou laarab galoubut (So the Arabs tSaid), 180

Magnan, Jean, 186Algérie, 54–62, 186

The Maghreb Star for Arabic Acting Company (Firqat An-NajmAl-Maghrebi Lit-Tamthil Al-Arabi), 111

Mahassen, Souad, 134Mahdia, Tunisia, 134Mahieddine, Mohammed, 193

Shamshoum al-Jazaa’iri (The Algerian Samson), 117

Maiakovski, VladimirThe Bathhouse, 180

Makach, Zohra, 203–5Aswat Koltes (Voices of Koltès), 205Fragments, 203–4

Makhoukh, Boubekeur, 182Aladin, 182Ali Baba, 182Galileo, 182Hafila Tassir (The Bus Thief), 189Hissaristan, 182The Wolf and the Sheep, 182

Malraux, André, 150Mamoura Center, Rabat, 119, 136, 138Mamoura Theatre Company, see Firqat

Al-MamouraManai, Rached, 175Al-Mana, Habib, 89Manasu, Mohammed

Masara al-Khyana (The Tragic End of the Traitoress), 79

Manifesto of the Eleven, 133–4Mansali, Mohammed, 87, 90

Tarik Ibn Ziad, 87Al-Mansur, Caliph, 104Maqama, 26–7, 196, 235Al-Maqdissi, Izz Abd al-Salam

Kachf al-asrar (The Revelation of Secrets), 72

Marabouts, 45, 105Marchetti, Filippo

Ruy Blas, 65Mark Anthony, 10Marouk, Habib, 172Marrakchi, Mohammed Bachir, 119Marrakesh, Morocco, 30, 33, 49–51,

84–5El-Masrah (The Theatre), Algiers, 144El-Masrah (The Theatre), Tunis, 97–8Masrah Adifa al-ukhra (The Other Bank

Theatre Company)The Impromptu of Casablanca, 208

Masrah Eddik, 188Al-Masrah Fukaahi (The Comedy

Theatre), Tunis, 96Masrah El Ghad (Theatre of Tomorrow),

Algiers, 115Al-Masrah Al-Ihtifali (Ceremonial

Theatre), 134, 166–7, 197, 231Al-Masrah al-jadid (The New Theatre),

Tunis, 172–4, 212, 234Masrah al-muqawama (Theatre of

Resistance), 98Masrah a-naaqd (Theatre of Criticism),

169Masrah el Qalla (Theatre of the Citadel),

177, 180, 189Masrah al-Ummali (Workers’ Theatre),

Casablanca, 139Masrah al-Ummali (Workers’ Theatre),

Rabat, 139Masrah Al-Yawn (Today’s Theatre),

Tangier, 84Imta nbdaw imta (When are we going

to start, when?), 209El Masri, Abdel-Qadir, 74Al-Masri, Mohammed Azzedine, 86Massenet, Jules

Manon, 67

Index 257

Massoud, Bouhssin, 171Al-Mastaqbal at-Tamtili (The Theatrical

Future), 97, 112Masurel, Christian, 134Mata, Candid, 83Mattei, George

La Guerre des Gusses, 186La Mauvaise Graine, Caen, 184Mawhoub, Aziz, 232El Mazher, Constantine, 115McDougal, James, 230Mecca, 32Meddah, 18, 25–6, 44–5Medea, Algeria, 80Medjoubi, Amina, 181Medjoubi, Azzedine, 176–7, 182, 189–90Mediouni, Mohammed, 231Mekki, Chebbah, 95

La femme ivrogne ignorante, 95Tarak Ibn Ziyad, 95

Meknes, Morocco, 199Meknes Festival, 209El-Mellouhi, Niddal, 187Mendes-France, Pierre, 124, 131Mennouni, Mohammed, 48Merle, R.

Flaminio, 132Meskini, Mohammed, 169–70

Ashour, 169rEl-Meskini, Sghir, 199–200Messika, Habiba, 91–3Meunier, Arnaud, 184–5 Miller, Arthur

Death of a Salesman, 182Millet, René, 39Mimiche, Tawfiq, 189Minh, Ho Chi, 148Minouni, Rachid

La Fleuve detourné, 193Al-Mithinni, Basir, 89, 97, 123El Mizhar (The Blossom), Algiers, 125Mniai, Hassan, 50, 113, 118, 140, 166Mniai, El-Mehdi, 99–100Mnouchkine, Ariane, 159Mohammed, 24, 28, 104, 235Mohammed, Abdelaziz, 231Mohammed Bey, 61Mohammed V, 118, 121–2, 131, 135Mohammed VI, 236Mohl, Jules, 71

Mohya (Moyha Abdellah), 190Sinni, 190, 192–3

Mokdad, Abdelkader, 134, 172Molière, 91, 113–14, 123, 137, 169–70,

190L’Avare, 65, 69, 100, 114Le Bourgeois Gentilhomme, 132, 136Critique de L’ecole des Femmes, 207Don Juan, 59, 143, 147, 174Les Faux Savants, 116Les Fourberies de Scapin, 137, 144, 196George Dandin, 134Imaginary Invalid, 78, 90, 114, 127,

138, 146Impromptu de Versailles, 207La jalousie du barbouille, 118Le Médecin malgré lui, 65, 78, 84, 90,

100, 118School for Wives, 139Tartuffe, 95, 100, 104, 166

Molineaux, 78Montesquieu

Persian Letters, 69Moreh, Shmuel, 26, 71–2Moroccan Center for Dramatic Research,

121Moroccan Theatre Company, see Firqat

At-Tamthil Al-maghribiMosbah, Ali, 134Mostaganem, Algeria, 189–90Al-Mouhaddiba (The Educator), Algiers, 86El-Mouhib, Allel, 144, 179Mouley Ismail, 58, 227Moulay Rachid, 50Mounet-Sully, Jean, 70Mrini, Houssin, 121, 137Mrozek, Slawomir

The Emigrants, 190Municipal Theatre, Algiers, 86Municipal Theatre, Tunis, 66–9, 73–4, 76,

78, 88–9, 132, 172, 212, 219, 231Al-Muqaffa, Abd-Allah Ibn, 100El Murrakechi, Ahmed, 133Murtajala (Impromptu), 207–8Musset, Alfred de

Lucie, 69Al-Mutribya, Algiers, 87–8

Naceri, Mohammed Mekki, 171Nadira, 26–7

258 Index

An-Nahda at-Tamtiliya (The Theatrical Renaissance), 123

An-Najma (The Star), 77Naimi, Kadour, 151, 153–4An-Najjar, Makhlouf, 79Napoleon III, 63An-Naqqas, Sali Khalil, 76An-Naqqash, Maroun, 75, 87, 137

Al-bakhil (The Miser), 71Fath el Andalous (The Conquest of

Andalousia), 87Fi Sabil el Watan (For the Fatherland),

87National Center of Circus Arts and Live

Performances, Tunis, 174National Center for Dramatic Art, Tunis,

211National Center for Puppet Theatre,

Tunis, 210National Liberation Front Arts

Company, 125National Theatre of Tunis (TNT), 173–5,

214–15National Theatre Mohammed V, Rabat,

139Naum, Jabran, 78Nero, 12New Theatre, Tunis, see Al-Masrah

al-jadidAn-Niffari, Mohamnmed, 197–8Nordine, Douila, 189Noureddine, Mouna, 231Nugue, Charles, 119Nujum al-Fann (The Stars of Art), Tunis,

123

O’Casey, SeanRed Roses for Me, 144, 147

Odéon, Paris, 70, 212, 238Offenbach, Jacques

La Fille du Tambour Major, 65rLa Jolie Parfumeuse, 65

Ohnet, Georges, 65Olivier, Alain, 148Olson, Gary, 219Omar, Hadj, 144, 146, 179, 181Ong, Walter, 20Oran, Algeria, 63, 115–17, 143, 146,

150, 157, 159, 161, 184–6, 189Orellana, Hope, 83

Oulmakki, Abdullatif, 210Oulmakki, Naima, 210Orif, Mustapha, 183Ouarda, Ibrahim, 168 Ouaziz, Tahar, 119, 137Ouettar, Tahar, 184Oufkir, Mohammed, 135Ouzri, Abdelwahed, 84, 109, 139, 209

Pailleron, Edouard, 65Pannewick, Friederike, 21Pasolini, Pier Paolo

Pylade, 184Le Passage, Tunis, 86Peele, Feorge

The Battle of Alcazar, 58rPellat, Charles, 10Peña, Don Manuel, 83Pennel, C.R., 81Perle des arts, Sousse, 211Petit Théâtre de Douchet, Tunis, 67Pirandello, Luigi, 190Piscator, Irwin, 145Planchon, Roger, 121Plautus, 9, 196

The Captives, 147The Handbag, 144gg

Politeama, Tunis, 65, 69Porto-Riche, Georges de, 123Prison theatre, 127Provost, M., 86Puckler, Muskau, Hermann von, 39Pujda, Morocco, 122Punic Wars, 9

Al-Qabbani, Abu KhalilIns al-Jalis, 76, 89, 96, 111

Al-Quaraaqoz, 38–9Al-Qarawiyin Mosque and University,

30–1, 49, 107–9Al-Qardahi, Jawq Sulayman, 75–7Al-Qiyada an-Nissaiya (Women’s

Leadership), 93Qissa, 23–5Quinn, Edward, 103Qu’ran, 2, 18, 23, 28, 32, 87, 104–7,

115, 235El-Qurri, Mohammed, 99, 108, 110, 115

Al-Ilm Wa Nata-aijuhu (Knowledge and its Results), 108

Index 259

Rabat, Morocco, 51, 118–19, 122, 136, 139, 236

Rachid, Amina (Faiza al-Amri), 119Racine, Jean, 76, 123Rafool, 85Al-Rahman, Kaki Wil Abed, see Ould

AbderrahmaneRais, Abdelhaim, 126–7, 147

Al ahd (The Vow), 127Alwad el Casba (Children of the

Kasbah), 127Al-Khaalidoon (The Immortals), 127Nahu an-Nour (Towards the Light), 127Le Serment, 147t

Rajae, Mohammed, 134, 172Rajwani, Fatima, 232Ramadan, Awatif, 231Ramadani, Mustapha, 166Rameau, Jean-Philippe

Les Indes galantes, 59Raouroua, Mohammed, 183Rawi, Fatima, 232Regnard, Jean-François

Le Joueur, 59rResplandy, Jean Emile Ferdinand, 67Richard I, 75–6Richie, Pierre, 119Richepin, Jean

Le Serment, 69tRif rebellion, 94, 98, 110, 117Al-Rihani, Najib, 85Roblès, Emmanuel, 125

Montserrat, 125, 144tRochdi, Chafia, 122Rolling Stones, 42–3Rome, 9–13, 15Rose, Jose de la, 83Rossini, Gioachino

Sémiramis, 61Rostand, Edmund

L’Aiglon, 92Cyrano de Bergerac, 66

Rota, GiuseppeBeatrice Cenci, 65

Roth, Arlette, 90Rouiched (Ahmed Ayad), 144–5, 181,

183El Bouaboune (the Concierges), 146El Ghoula, 147, 161Hassan Terro, 144–5, 147

Rukibi, AbdellahMasra at-Tughaat (The Death of

Despots), 116Rusdi, Safya, 122Rushdie, Fatimah, 85, 92–3

Masra Kilyubatra (The Fall of Cleopatra), 92–3

Rushdie, Salman, 221Rwached, Abdellah, 133

As-Sa’ada (Happiness), Tunis, 117Sabri, Wassila, 93 Saddiki, Tayeb, 50, 121, 139, 145, 160,

170, 194–5, 197, 206, 218, 220, 227Le Diner de Gala (The Gala Dinner),

206–7Diwan Sidi Abderrahman Al-Majdub

(The Collection of Master Abderrahman Al-Majdub), 139–41, 200, 205

Al-fil was-sarawil (The Elephant and Pants), 194–5

Maqamat Badia EzzamaneEl-Hamadani, 196

Sadgrove, Philip, 1, 71–2Safiri, Abdelkader

Deux-pièces-cuisine (Two KitchenPieces), 144

As-Sahama al-Arabya (Arabian Gallantry),Tunis, 77–8, 88–9, 92, 123

Sahnoun, OmarTchach, 209

Saint-Exupery, Antoine deThe Little Prince, 181

Saint-Saens, CamilleSamson et Dalila, 70

Salafi movement, 101–2, 105–9, 111, 115Sale, Morocco, 30, 108Salhi, Kamal, 17Salvini, Alessandro, 65Sammoun, M., 25Sannou, Yacub, 80, 137Saqui, Mme, 62Sardou, Victorien, 67

Fedora, 65Patrie, 88, 98

Sartre, Jean-Paul, 124The Respectful Prostitute, 157

El Saydia, 144Sayem, Muncef, 134

260 Index

As-Sawab, 97Sbeiba Festival, 46Schechner, Richard, 39Schiller, Friedrich

The Robbers, 78Scholl, Gottfried, 60Schuyler, Philip, 29Scribe, Eugene, and Jean-Henri Dupin

Michel et Christine, 62Scott, Walter

The Talisman, 75Sedaine, Michel-Jean

Le Déserteur, 62rSemlali, Hedi, 93, 113Serreau, Jean-Marie, 148, 174Setif, Algeria, 189–90Sfar, Mustapha, 78Sfax, Tunisia, 69, 79, 134, 211Sghir, El-Meskini

Bu-jma’ l-faruj (Bu-Jma the Rooster),200

Shakespeare, William, 80, 123, 137, 147,167–8

Hamlet, 76, 79, 96, 132, 138, 142–3,t168–9, 232

Macbeth, 142–3The Merchant of Venice, 124, 231Midsummer Night’s Dream, 181Othello, 73, 76–7, 79, 89, 93, 117, 132,

168–9, 174Romeo and Juliet, 76–7, 79, 84, 88,t

92–3, 96, 193The Taming of the Shrew, 147

Shamam, Nacer, 133Sharamane, Mohammed

Adafadie Al-Kahla (The Black Turtles), 171

Shawqi, Ahmed, 124Shushan, Faraj, 133Sid-Iketfi, 51–2Sidi Bel Abbes, Algeria, 115, 143, 146,

150, 156, 187–8Sira, 23–4Skikda (Rusicada), Algeria, 13Smain, Jadj, 159Snouci, Mourad

Metzeouedj Fi Otla (A Husband on Vacation), 189

Snoussi, Ahmed, 134Snoussi, Hocine, 183

Société Dramatique Victorien Sardou,Tunis, 67

Sonia (Mkio Sakina), 177, 184–5, 190–1Sophocles, 147

Antigone, 158Electra, 181Oedipus, 69, 132

Southern, Richard, 39–41Sousse, Tunisia, 67, 76, 79, 134Soussi, Brahim Ahmed, 118Souissi, Ezzedine, 231Souissi, Khadija, 134Souissi, Muncef, 133, 172, 174, 231–2Stambouli, Mahboub, 80Stambuli, Khalifa, 111

Ana al-Jani (I am the Guilty One), 111Aquibat al-Kaessi (The Consequences

of Drinking Wine), 111Asdiqa wal-Hiyanaou Araf askun Ithalit

(You Must Know with Whom You Associate), 111

Al-Flussi (Oh, My Money), 111Al-Muizz li-Din Allah al-Fatimi, 111Zyadat Allah al-Aghlabi, 111

Stanislavsky, Constantin, 34The Stars of Art (Nujum al-Fann), 123Stoppard, Tom

Every Good Boy Deserves Favor, 193rSue, Eugene

The Wandering Jew, 65Sufi faith, 32, 197–8Sultan Tulba, 47–50, 169Sunna, 28, 235

Tadili, Driss, 232Al-Hadh, 232Le Rhinoceros, 171

Al-Tahar, Ali Cherif, 86–7Achifa ba’d anâ (Cure after Testing), 86Badi’, 86Khadîat el gharam (Passions Betrayed),

86Tahar, Arezki, 193At-Tahdib as-Safaqisi, Sfax, 79Takchout, Rym, 190Tangier, Morocco, 30, 100, 118, 201, 229Tannus, Georges

As-Sab wa Qayar (The Death of Caesar), ((88

Tantaoui, Hasna, 235

Index 261

Tapia theatre, Tunis, 60–2, 63Taroudant, Morocco, 30At-ta’sis Al-masrahiya, Casablanca, 168Tawrat al-malik wa shaab (The

Revolution of King and People), 122Ta’ziyeh, 169El Teatro, Tunis, 175, 210–11Teatro Isabelle II, 63Teatro Espanol, Tetouan, 101Teatro Italiano, Tunis, 62, 67Teatro Paradiso, Tunis, 65–6Teatro Rossini, Tunis, 68, 76–9, 88Temin, Mohammed, 58El Temthil el arabi (The Arab Theatre),

Algiers, 87Terence, 9Tertullian, 222Tetouan, Morocco, 63, 100, 107Teymour, Mahmoud, 189Théâtre Brulat, Tunis, 65Theatre Cohen, Tunis, 64Théâtre de la Mer, 151–4

Et à l’aurore où est l’espoir (Toward the Dawn, Where Hope Lies), 153

Forma-Révolution, 152La Formi et l’Elephant (The Ant and

the Elephant), 152Mon corps, la voix et sa pensée

(My Body, Voice, and Thought), 152La Valeur de l’accord (The Value of

Agreement), 152Théâtre de Plein Air, Tunis, 67Théâtre Douchet, Tunis, 66Théâtre Français, Tunis, 65–7Theatre Mohammed V, Rabat, 213, 219Theatre Municipal, Casablanca, 206–7Théâtre National Populaire, 121, 131,

139, 176Théâtre Nouveau, Tunis, 64Theatre of the Citadel (Masrah el Qalla),

177, 180, 189Theatre of Criticism (Masrah a-naqd)(( , 169Theatre of Tomorrow (Mesrah El Ghad), dd

115Théâtre pour enfants, Sidi Bel Abbes,

157Théâtre Tunisien, Tunis, 67Theatre Phou, 211Théâtre Universel, Sfax, 211Teatro Rossini, Tunis, 68, 76–9, 88

The Thousand and One Nights, 17, 28, 30, 33, 35, 72, 76, 90–1, 168, 231

Tiemcem, Algeria, 190TILMA, 118Timgad, Algeria, 14Timgad Festival, 14Timoud, Mohammed

Urss Al-Dib (The Wolf’s Wedding), 171Tin Hinan, Sidi Bel Abbès, 187–8Tizi Ouzou, Algeria, 150, 158, 182, 191–3Today’s Theatre Company (Masrah

al-Yawm), 84, 208–9Torres, Abdelkhalek, 99, 101, 107,

110–11Intissar Al-Haq (The Victory of Right),

101, 107Touri, Mohammed, 116, 124, 126, 144

Au café, 116Le comédien malgré lui, 144Hier et aujourd’hui, 116Le Kilo, 116Zat Zalamit, 116tSekkaj el Wahline, 144

Treaty of Fez, 81, 83Troupe Israélite, Sousse, 79Tuareg people, 52Tulaymat, Zaki, 123–4, 231Tunis, 58–65, 74–9, 88–9, 92–3, 121–3,

172–3, 210–14, 234Tunis al-Masrahiya (Theatrical Tunis),

123

University Theatre Company, Morocco, 142

Umanitâ, Sousse, 67Utica, 10

Valabregue, Antony, 78Verdi, Giuseppe, 66

Aida, 76, 92Rigoletto, 63, 69Traviata, 62

Vernet, Mme, 70Le Veugle, Jean, 138Veuillet. Nathalie, 186Vilar, Jean, 121, 131–2, 139, 146, 232Voisin, André, 119–21, 132, 136–7, 170Voltaire

La Mort de César, 88Oedipus, 80, 97

262 Index

Wahbi, Youssef BekAssahra (The Desert), 93

Wamadat, AgadirTchach, 209

Wannous, Sadallah, 172Warchat Ibdae Drama, Morocco, 196Wattar, Tahar

a-Shuhadaa Ya’oudouna Hatha al-usboue(The Martyrs are Returning this Week), 157

Webber, Sabre, 20World War I, 80–1, 85, 92World War II, 105, 110, 113–14Worsham, Lynn, 219

Yacine, Kateb, 3–4, 125, 145–6, 150, 152–7,159, 179–80, 183–5, 187–8, 192–3

Les Ancêtres redoublent de férocité (The Ancesters Redouble Their Fury), 148

Le Bourgeois sans culotte, 158La Cadavre encirclé (The Encircled

Corpse), 146, 148, 184Le Cercle des représailles (The Circle of

Reprisals), 148La Guerre de 2000 ans (The 2000 Year

War), 154L’Homme aux sandals de caoutchouc (The

Man with Rubber Sandals), 148–9Kahena, 155Mohammed prends ta valise

(Mohammed, Take Up Your Suitcase), 150, 152–4, 157

Nedjma, 174, 180, 184La Palestine trahie (Palestine Betrayed),

155La Poudre d’intelligence (Powder of

Intelligence), 148Le Roi de l’ouest (The King of thet

West), 155La Voix des femmes (The Voice of

Women), 155Yafil, Edmond, 87Yakoubi, Larbi, 232Al-Yazejie, Ibrahim, 102Years of Lead (sanawat ar-rassas), 135, 170Youssef, Moulay, 84Youssefi, Abderrahman, 209Al Youssi, Hassan, 31

Zaghloul, Saad, 80Zamoum, Ali, 151, 153, 156Zannetti, Napoleone, 65Zarafi, Habib, 211Zarruq. Mohammed and Abd al-Aziz

al-WislatiJarati (My Neighbor), 98 Si Hamdun (Mr Hamdun), 98

Zeami Motokiyo, 214Zemerli, Hassen, 231Zerouali, Abdelhaq, 197–9

Kidtu Arah (I Was about to See), 197Nechba, 198

Zitan, Naima, 210Zmerli, Lahcen, 132