The three Syrian TV series Nihayet Rajol Shujaa (End of Brave Man), Ayyam Shamiya (Damascene Days) and Khan Al Hareer have constituted a turn in the history of the Syrian drama, according to the Arabic daily Al Hayat.
The three series portrayed the character model, historic course and the place through a union in which the writers succeeded in highlighting. The dialect was not a source for identity but rather the relation between the character, neighborhood, country and the world in one incident.
Nihayet Rajol Shujaa is originally a novel by the Syrian novelist Hanna Minah. The scenarist Hasan Yousef managed to develop it into a consolidated scenario through the activation the picture language to portray the meaning of an artwork. The effective direction by Najdat Anzur facilitated the emergence of this successful drama, which depicted the reaction between a number of elements, which rarely combine together: novel, scenario and direction vision.
Ayyam Shamiyah was written by Akram Shreim. This series succeeded in linking between the character and his history. You can’t find a dialogue distant from this principle, which is, considered the basic and first condition in the dialogue standard: consistency of speech with the character. This series depicted the Syrian community circumstances during the Ottoman occupation using the most suitable gestures. It did not depend on glorifying the political event at the expense of the spontaneous social event.
Khan Al Harir directed by Haytham Haqqi tackled a compounded task. It explored the Syrian society during its most critical stages: the stage of the end of the Ottoman tenure and the growing national concept followed by the French occupation of Syria and the British occupation of Iraq and the emergence of various political movements in the middle of the century. The series succeeded in portraying the Syrian character with his complicated dimension in the stage of the great political transformation with the presence or absence the imperialist and the beginning of the national regime and consequent paradoxes.
The series Hamam Al Qishani which is currently aired in its fourth part attempted to restore the historical sequence in the development of the character. But the technological drawback of the series is transforming the characters into people concerned with politics only, which has deprived the viewer from seeing a character but rather a political style performed by an actor. This has separated the character from his social track.
When the viewer follows up the political life during a certain period in his society, he becomes surprised how the whole place becomes a venue for political dialogue, reading newspapers and follow up of the leaders' speeches.
The series has indeed tried to introduce love stories and family disputes in order to give the work its spontaneous social nature but this did not succeed in throwing the basic image of the series, which is the political event.
Up to this stage the Syrian drama has reached a deadlock quickly. The most important feature of this is the absence of narration -- Albawaba.com
© 2001 Al Bawaba (www.albawaba.com)
