Theater in Lebanon: Production, Reception and Confessionalism [1. Aufl.] 9783839403877

Table of contents :
TABLE OF CONTENTS
INTRODUCTION
APPROACH, METHOD, AND FIELDRESEARCH
Theoretical framework
A qualitative approach: The »Grounded Theory«
The practical framework
Organization ofthe research paper
The field research and the database
Observation and protocoling
Interviews
Limitations
A HISTORICAL OVERVIEW
The confessional context
Historical overview oftheater
Overview of Iiterature
THE ENVIRONMENT OF THEATER (LEVEL I)
CONFESSIONALISM: A MAJOR »SPHERE OF DISCORD«
Terminology and characteristics
Confessional neutrality
Two confessional views of confessionalism
The confessional world: the »Self«
The confessional community ('aHa'ifa)
Family and clan
The individual and the collective: a second sphere of discord
Politics ofthe social world: wasita and za'Im
»Rulers« versus »ruled«: a third sphere of discord
Institutions
Education
Regionalism: the geographical extension of confessionalism
War
Catalyst effect: two areas and two audiences
Generation gap: a fourth sphere of discord
Theater and war
The attitude towards the »Üther«
Isolation
Knowledge ofthe other
Competition and duplication
Tension and relaxation
Emotionality
The Christian construction ofthe Moslem
The Moslem construction ofthe Christian
Differentiation and identification: two esthetic realms
Apportionment
Polarization
Labeling
Globalization
Media
Newspapers and other media
CONCLUSION AND CONSEQUENCES: THE ENVIRONMENT OF THEATER
The spheres of discord as on-going »social dramas«
Friction
Esthetic realms
Graphical representation of the environment
OUTER-PERFORMANCE PRODUCTION (LEVEL II)
THE PARAMETERS OF THE PRODUCTION
Freedom, censorship, and restrictions
Governmental institutions
Confessional Institutions
Overriding restrictions
Attitudes ofthe production towards theater
The production agents' view oftheater
Theaterasspace ofthe individual
The audience and the economic balance between production and reception
STRATEGIES OF THE PRODUCTION
Selection and composition
Approaching the spheres of discord
Approaching the esthetic realms
Approaching the audiences
Marketing
Appeal
THE ELEMENTS OF PLA Y
Actors
Place: host-guest attitudes
Form
Text
Music
Sex and other elements of attraction
Heterogeneaus and homogeneaus plays
Topic
THE CROSSING PLAY
A TYPOLOGY OF THEATER
Entertainment Theater-»'al-masraḥ t-tarfīhī«
Chansonnier Theater
Boulevard Theater
Serious Theater-» 'al-masraḥ l-āǧdd«
Intellectual and Academic theater
Political Theater: 'al-masraḥ s-āsiyy
Religious Theater: 'al-masraḥ d-dīniyy
Popular Theater: 'al-masraḥ š-ša'biyy
CONCLUSION: PRODUCTION
OUTER-PERFORMANCE RECEPTION (LEVEL II)
THE PARAMETERS OF RECEPTION: THE ATTITUDE OF THE AUDIENCE TOWARDS THEATER
Theatrical culture
Meaning and role oftheater
Theater in the relation between the self and the other
Differences between the two social worlds
The Christian milieu: estheticism, exclusivism, and development ofthe individual
The Moslem milieu: functionalism, popularism, and conservation ofthe collective
Attitude ofthe audience towards theater people
GOING TO THEATER
Acquiring the ticket
The circumstantial audience
The intentional audience
Selecting a performance
The place
Transportation
Beirut as common space
The Crossing Audience
The financial element
CONCLUSION: A TYPOLOGY OF THE AUDIENCE
PERFORMANCE (LEVEL III) AND POST-PERFORMANCE (LEVEL IV)
REALITY ÜNE »R1« AND REALITY TWO »R2

Citation preview

Theater in Lebanon

Tarek Salloukh studied drama and theater arts at the Leb an ese University in Beirut. As actor and director, he performed in the theaters of the Lebanese capital for many years. He concluded his studies with a Ph.D. at the University of Konstanz in South Germany, where he now lives.

TAREK SALLOUKH

Theater in Lebanon. Production, Reception, and Confessionalism

[transcript]

Bibliographie information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche N ationalbibliografie; detailed bibliographic data are available on theInternetat http://dnb.ddb.de transcript Verlag, Bielefeld and Diss., Univ. Konstanz, 2004 Tag der mündlichen Prüfung: 2. Juni 2004 Erster Referent: Prof. Dr. Hans-Georg Soeffner Zweiter Referent: Prof. Dr. Kay Kirchmann ©

2005

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, inlcuding photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Cover Layout by: Kordula Röckenhaus, Bielefeld Typeset by: Tarek Salloukh Printed by: DIP, Witten ISBN 3-89942-387-9

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TABLE OF CONTENTS

INTRODUCTION

11

APPROACH, METHOD, AND FIELDRESEARCH

Theoretical framework A qualitative approach: The »Grounded Theory« The practical framework Organization ofthe research paper The field research and the database Observation and protocoling Interviews Limitations A HISTORICAL OVERVIEW

The confessional context Historical overview oftheater Overview of Iiterature

THE ENVIRONMENT OF THEATER (LEVEL I) CONFESSIONALISM: A MAJOR »SPHERE OF DISCORD«

Terminology and characteristics Confessional neutrality Two confessional views of confessionalism The confessional world: the »Self« The confessional community ('aHa'ifa) Family and clan The individual and the collective: a second sphere of discord Politics ofthe social world: wasita and za'Im »Rulers« versus »ruled«: a third sphere of discord Institutions Education Regionalism: the geographical extension of confessionalism VVar Catalyst effect: two areas and two audiences Generation gap: a fourth sphere of discord Theater and war The attitude towards the »Üther« Isolation Knowledge ofthe other Competition and duplication Tension and relaxation

5

13 13 23 26 28 30 32 33 35 36 36 39 42 45 46 46 48 50 51 51 52 53 56 58 58 59 61 62 63 65 66 68 68 69 70 70

Emotionality The Christian construction ofthe Moslem The Moslem construction ofthe Christian Differentiation and identification: two esthetic realms Apportionment Polarization Labeling Globalization Media Newspapers and other media

71 72

73 74 77 78 78

79 81

83

CONCLUSION AND CONSEQUENCES: THE ENVIRONMENT OF THEATER

The spheres of discord as on-going »social dramas« Friction Esthetic realms Graphical representation of the environment

OUTER-PERFORMANCE PRODUCTION (LEVEL II) THE PARAMETERS OF THE PRODUCTION

Freedom, censorship, and restrictions Governmental institutions Confessional Institutions Overriding restrictions Attitudes ofthe production towards theater The production agents' view oftheater Theaterasspace ofthe individual The audience and the economic balance between production and reception STRATEGIES OF THE PRODUCTION

Selection and composition Approaching the spheres of discord Approaching the esthetic realms Approaching the audiences Marketing Appeal

84 85 86 87 88

91 91 91 93 93 94 95 95 98

100 103 103

105 107 108

108 109 112

THE ELEMENTS OF PLA Y

112 115 116 116 117

Actors Place: host-guest attitudes Form Text Music

6

Sex and other elements of attraction Heterogeneaus and homogeneaus plays Topic THE CROSSING PLAY

A TYPOLOGY OF THEATER

Entertainment Theater-»'al-masra~ t-tarfihl« Chansonnier Theater Boulevard Theater Serious Theater-» 'al-masra~ 1-gadd« Intellectual and Academic theater Political Theater: 'al-masra~ s-syasiyy Religious Theater: 'al-masra~ d-dlniyy Popular Theater: 'al-masra~ s-sa'biyy

118

120 121 122 125 126 126 129 129 130 131 133 134

CONCLUSION: PRODUCTION

136

OUTER-PERFORMANCE RECEPTION (LEVEL II)

137

THE PARAMETERS OF RECEPTION: THE ATTITUDE OF THE AUDIENCE TOWARDS THEATER

137

Theatrical culture Meaning and role oftheater Theater in the relation between the self and the other Differences between the two social worlds The Christian milieu: estheticism, exclusivism, and development ofthe individual The Moslem milieu: functionalism, popularism, and conservation ofthe collective Attitude ofthe audience towards theater people

137 139 141 145

GOING TO THEATER

Acquiring the ticket The circumstantial audience The intentional audience Selecting a performance The place Transportation Beirut as common space The Crossing Audience The financial element CONCLUSION: A TYPOLOGY OF THE AUDIENCE

7

146 148 150 151 151 151 153 153 155 155 156 156 158 158

PERFORMANCE (LEVEL 111) AND POST-PERFORMANCE (LEVEL IV) REALITY ÜNE

161

»R1« AND REALITY TWO »R2-"

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