The artist and actor raised his tabbie presented a special theatrical performance for the play “Hamlet the crazy Prince” on the Al -Saray Al -Kabeer in Beirut, amid a high -level official presence, at the invitation of Prime Minister Nawaf Salam and his wife, and in the presence of Deputy Prime Minister Tariq Mitri and the Minister of Culture Ghassan Salama, as well as a large crowd of intellectuals and cultural and political figures.
At a time when political and social challenges increase, and the critical voices of the idea of establishing cultural offers in official spaces such as the Grand Serail, this offer emphasizes the importance of culture, is not a luxury or entertainment, but rather as a life and real capital of any society that seeks progress and renaissance. Throughout history, the arts and theater were effective tools in resisting backwardness and changing the rigid mindset, from ancient theaters of Greece that were platforms for social and political criticism, to cultural movements that established European renaissance pillars and artists’ struggles in the countries of the south.
In Lebanon, as in many countries of the world, culture plays a pivotal role in promoting national identity and opening horizons for constructive dialogue between different spectrums. Celebrating theatrical performances in national spaces such as the Grand Serail is not a waste of time or resources, but rather an investment in building a new mentality open to development and innovation, instilling the values of freedom, tolerance and creativity, to be a starting point for any real renaissance.
Hamlet: A trip from Denmark to Beirut
The original play written by William Shakespeare in the seventeenth century deals with the story of the Prince of Denmark, who is drowned in deep doubts after his father was killed and his mother’s marriage to his murderous uncle. In a Rifaat Tarbiye, the story turned into an intense internal reflection that carries personal, intellectual, and political dimensions, inspired by the Lebanese social and political wounds.
In his interview with Al -Arabi Al -Jadeed, the ancient actor, Raifa, explained that “Hamlet” has an ancient history in Lebanon, where Amin al -Rihani presented it 125 years ago in the Al -Freqa area in Arabic, and other shows were followed in the sixties of the last century with Mounir Abu Dabbis in Jbeil, in addition to a television version in the 1970s that was like his representative launch. He added: “I challenge myself today, I play Shakespeare with the maturity of the age of 76 years and the depth of the questions of death, life, revenge and treason.”
Taraby thanked the President of the Republic for granting him the Order of Merit, stressing that this medal is all the workers in the theater, the living and the dead, adding: “The real capital of Lebanon is the creative person, only they gave us six months of peace and we do not need loans from anyone. The story of the Lebanese Phoenix bird is true and not a legend.”
Lina Abyad: An output that makes the meaning of silence
Director Lina Abyad made a show towards a space in which politics meets poetry, where “Hamlet” becomes more than the story of a man, but rather a mirror of a country looking for salvation from absurdity and corruption. White relied on austerity cinematography focusing on body and sound, excluding decorations, to enhance the interpretative dimension of the text instead of its craftsmanship.
Rifaat Taraby: A body that speaks in the language of misery and thought
In a distinct individual performance, Tarbet carries the burden of several characters from the text, including Hamlet and the ghost of his father, in an interfering narrative style, where the roles are rotated and dreams and nightmares are intertwined. He does not seek to imitate, but rather to evoke the text, memory, and internal conflict through his broken voice, his curved body, and his deep silence, to reshape the Shakespearean text in an intimate experimental template.
Between the text and interpretation: “Hamlet” that we live in
The play is not a literal quotation, but rather a rewriting from within the text, where Shakespeare’s text overlaps with the reflections of Tarbiyah and the echoes of the Lebanese reality. Here it does not become a question “to be or not to be” is just a philosophical inquiry, but rather the cry of a people besieged in the absence of justice and freedom.
Honoring and celebrating my country
In a majestic moment on the Al -Saray Al -Kabeer, Rifaat Taraby was honored by imitating the National Merit Medal from the President of the Republic, in appreciation of his artistic contributions to reviving the world theatrical heritage and presenting it in a contemporary artistic language that expresses the pulse of society. The honor was attended by a number of official and diplomatic personalities, which gave the ceremony a distinctive cultural and diplomatic dimension, as this show was the first representation to be held in the Grand Serail, confirming the position of the theater as a space for high -end art and national messages.
Date: 2025-02-02
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