Contentious Dramaturgies in the countries of the Arab Spring: the Case of Morocco

By Khalid Amine.


"Alternative Dramaturgies" in contemporary Moroccan theatres have become so visible, re-framing our preconceived questions related to both classical and modern dramaturgies. In the present undertaking three case studies will be explored along with their public responses and their potential for dramaturgical intervention and devising processes. Dmoue Bel K’houl (Kolh Tears) is written by Issam el Youssfi, directed by Asmae El Houri, and presented by Anfass Theater Group (winner of the best performance in the national festival of 2013). Hadda, a theatre-concert of the activist company Dabateatr, is a free adaptation of Safia Azzeddine’s (confidences à Allah), written and directed by Jaouad Essounani. Schizophrenia is a recycled project that re-enacts one of the most painful testimonies of Milouda, a single mother who appeared in a previous project (Viol en Scène) by the same company. Articulated around the notion of the narrator as the main agent of the theatrical event and the use of ‘mediaturgy’, the three performances challenge dominant dramaturgical forms and allow new sites for spectatorship to emerge extending the boundaries of the aesthetic realm. 


Khalid Amine: 
Professor of Performance Studies, Faculty of Letters and Humanities at Abdelmalek Essaadi University, Tetouan, Morocco, Research Fellow at the Institute of Interweaving Performance Cultures, Free University, Berlin, Germany (2008-2010), and winner of the 2007 Helsinki Prize of the International Federation for Theatre Research. Since 2007, he has been Founding President of the International Centre for Performance Studies (ICPS) in Tangier, and convener of its annual international conferences. He is member of IFTR Ex-Com between 2011 and 2018; Head of Jury at the Arab Theatre Festival (6th Edition, Sharjah 2014). Among his published books: Beyond Brecht. Meknes: Sindy Publications, 1996. Moroccan Theatre Between East and West, Faculty of Letters Publications, Abdelmalek Essaadi University, Tetouan, Morocco, 2000. Fields of Silence in Moroccan Theatre Rabat: Union of Moroccan Writers, 2004). Dramatic Art and the Myth of Origins: Fields of Silence (International Centre for Performance Studies Publications, 2007). He has numerous publications in International Theatre Journals: TDR, Theatre Journal, Documenta, Etrcetera, Journal of Middle Eastern and North African Intellectual and Cultural Studies, FIRT Journal… Among Amine’s edited books contribution is an article entitled “performing Postcoloniality in the Moroccan scene: Emerging Sites of Hybridity” which appeared in the edited volume Contesting Performance: global sites of research, published by Palgrave in 2010. His most recent contribution is “Postcolonial Modernity: Theatre in Morocco and the Interweaving Loop” in the edited volume The Politics of Interweaving Performance Cultures. Beyond Postcolonialism, edited by Erika Fischer-Lichte, Torsten Jost, Saskya Iris Jain. New York: Routledge, 2014. Amine is Co-author with Distinguished Professor Marvin Carlson The Theatres of Morocco, Algeria and Tunisia: Performance Traditions of the Maghreb (London & New York: Palgrave, 2012); editor of The Art of Dialogue: East-West (Tangier: ICPS Publications, 2014).