<\/p>\n
\u00a0A captivating literary and theatrical dialogue unfolded Monday at the International Publishing and Book Fair in Rabat, bringing together acclaimed novelist and academic Mohamed Berrada and director-playwright Bousselham Daif. The conversation, moderated by critic Hamadi Keroum, explored the creative tensions and collaborative synergies involved in adapting literature for the stage.<\/p>\n
Berrada opened by distinguishing between adaptations of classical works\u2014where directors enjoy broad creative liberties\u2014and those of contemporary texts. \u201cWhen the playwright is alive, dialogue with the director becomes necessary,\u201d he argued, suggesting at least 20 to 30 percent of the original work should be preserved in any theatrical version.<\/p>\n
The novelist was candid about the risks of adaptation, saying that reinterpreting a text could either enrich or distort its essence. He engaged directly with Daif\u2019s staging of his own works\u2014\u201dFar from the Noise, Close to Silence\u201d and the newly adapted \u201cWords Erased by Daylight\u201d\u2014raising questions about certain choices, such as opening a scene in a cemetery with Quranic recitation. Berrada suggested jazz music might have better drawn viewers into the piece without evoking religious or emotional sensitivities.<\/p>\n
Daif responded thoughtfully, explaining his choice of the Quranic motif was part of a broader effort to \u201ccreate worlds within worlds\u201d on stage. He elaborated on the challenge of staging a cemetery\u2014a recurring setting in the play\u2014without triggering conventional associations of death.<\/p>\n
\u201cIt\u2019s not a religious world, but a Sufi one,\u201d he clarified, pointing to a spiritual landscape that blends cemeteries from Fez, Tangier, Paris, Japan, and Spain. In his vision, these were realms of reflection and rebirth, culminating in a final scene where characters return to life and speak again.<\/p>\n
The conversation turned to the current state of Moroccan theater. Berrada expressed concern over the absence of strong, cohesive theater troupes with the intellectual and creative infrastructure to respond to today\u2019s societal complexities. He linked this to the decline in public education, which he believes has deprived young people of the tools to assert themselves in cultural and professional arenas.<\/p>\n
\u201cCan theater thrive without a national troupe, with adequate funding and support to attract young audiences and encourage new writing?\u201d Berrada asked. \u201cOr will it remain merely a spectacle, entertaining but lacking the depth to provoke real questions?\u201d<\/p>\n
For his part, Daif reflected on his longstanding fascination with adapting non-theatrical texts, especially novels. He cited his own graduation thesis on dramatizing fiction, describing it as an important exercise in understanding the intricacies of narrative, and how they intersect with societal realities. His work includes adaptations of both Moroccan and international novels such as \u201cNight of Destiny\u201d, \u201cPapers\u201d, and \u201cFar from the Noise, Close to Silence\u201d.<\/p>\n
\u201cTo be true to the world of the novel, the director must understand it deeply, grasp its core, and translate its moods and topography to the stage,\u201d Daif said.<\/p>\n
He recounted the \u201cshared struggle\u201d he and Berrada faced in casting the female lead for \u201cWords Erased by Daylight\u201d, and noted that Berrada had suggested incorporating the music of the Trio Joubran to accompany the text. \u201cThis play is filled with words\u2014important ones,\u201d Daif said. \u201cSome may call them literary, but our challenge in the theater is to make words actions.\u201d<\/p>\n
The session closed on a hopeful note, recognizing the value of such collaborations in sparking dialogue, enriching both literature and theater, and nurturing a more engaged cultural public.<\/p>\n<\/div>\n
Rephrase in a different way as if you were a native American speaker as a content creation expert and do not talk about yourself or your experience in the text and do not show yourself as an artificial intelligence who wrote and fill the bullet point in the topic and speak the heart of the topic itself and dont take date of blog in ther first and dont take text like box of newsliter subscribe on post from content and romove all linke insert in content and and remove all affiliate disclosure phrases on content like this “This post may contain Amazon or other affiliate links that allow us to earn a small commission at no extra cost to you. Please see our Disclosure Policy for more info” and “#” put in its place bullet point, and romove name of the web site or his links we are take a content from our new creation, and don’t publish clone new content more than just one time<\/p>\n","protected":false},"excerpt":{"rendered":"
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