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Volume :3 Issue : 10 1983      Add To Cart                                                                    Download

The Quartet of Nagib Sorour (in Arabic)

Auther : Amin El-A'ayouti

The present study is an attempt to examine some aspects of Nagib Sorou’s dramatic art. It deals with four of his plays: Yaseen and Baheia, Ballad to the Night and the Moon, Appeal to the sun. and Baheia, Tell me. It claims to begin with, that the writer, in his first work was divided between narrative poetry and dramatic art. Consequently, this first work came put as a narrative that has some dramatic elements, whereas the subsequent works are dramatic works which include narrative elements. This duality is an essential feature of all his dramatic works it takes various forms, especially in his use of the chorus, and it has always been subject to his conception that the theatre, in its early beginnings, was and should always remain a combination of chorus and actors.

But Sorour, in all he wrote for the theatre, was not attempting to link the Arab Theatre with its Greek and European counterparts. He was rather trying to restore it to its folkloric origins. Hence his dependence on the folkloric narratives and his adapting them to theatrical forms. This is evident in his use of the form of the popular entertainment gathering, and in his use of the chorus, popular poetry, ballads dances, and also popular formations and groupings. His aim was to establish a theatrical form in keeping with the Egyptian folkloric heritage and environment. In this attempt Sorour was actually participating in the current fray over the Official and popular artistic forms.

In this study we have concentrated on the above mentioned works because they do form a quartet. Originally, Sorour was planning to write a trilogy which centers round one subject and one theme to be dealt with over a time span of three different phases of Egypt’s modern history. But when he wrote a comedy dealing with the same subject, the trilogy was transformed into a quartet in the best manner of Aeschylus, though it remained entirely popular in form and content. In so doing he actually achieved what many dramatic writers sought to do. He managed to establish a theatrical form which has its basis in popular environment and art, thus laying a solid foundation to a genuine Arab Theatre.

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