As the most public of genres, drama always presents the literary historian with a rich blend of exemplars and issues. When the textual forms, language levels, and publics are as varied as those of the Arabic-speaking world, the topic becomes particularly complex. One might begin by pointing out that, in the first decade of the 21st century, theatre was not present in some Arab-world countries governed by conservative regimes, such as Saudi Arabia, and was a new phenomenon in others, such as the countries of the Persian Gulf. In many other countries where drama was permitted, every aspect of production was subject to the closest scrutiny by censorship authorities (known as lajnat al-qirāʾah). These practical issues aside, modern Arabic drama continued to exist in a cultural milieu in which there was ongoing tension between the perceived tastes (and concomitant financial support) of elite and popular audiences and between the differing aestheticcriteria applied to productions in the standard written (literary) language and the colloquialdialects. Drama and its practitioners also found themselves confronted with the popularity and global reach of rival media—film, television, and video, all of which tended to have recourse to the same set of performers. If drama in the West found itself similarly challenged, this was much more the case in a number of Arabic-speaking regions where a tradition of literary drama was barely a century old.
It has become customary to trace the beginnings of modern Arabic drama entirely to Western influence, as part of the process of al-nahḍah (“the renaissance”) noted above. Any search for a library of textual precedents in Arabic drama that would be analogous to the Western canon—from Greek tragedy, via William Shakespeare and the French tragedians Pierre Corneille and Jean Racine, to such 20th-century playwrights as Luigi Pirandello and Bertolt Brecht—would be in vain, as would any attempt to identify a tradition of theatre buildings and companies that would parallel that of the West. However, in the history of Western culture, drama’s performance boundaries also extend beyond such a canon, which is limited to those texts performed within a theatre and reliant on the expectations and conventions of such a space; one need think only of the cycles of religious plays associated with many European cities (such as the Chester plays and York plays of England).
Within this more comprehensive view of the history of drama, the premodern era offers many examples of similar public performance genres in Arabic. The storyteller (ḥakawātī) regularly performed extracts from a whole series of popular narrative sagas on the street, often accompanied by musical instruments; his tales related, for example, the chivalry of ʿAntar or the migration of the Banū Hilāl tribe and its hero, Abū Zayd, or the victories of the sultan Baybars against the Crusaders. During the Shīʿite holy month of Muharram, Muslims processed through the streets, reenacting the events of the Battle of Karbalāʾ (680 ce), during which the Prophet Muhammad’s grandson al-Ḥusayn ibn ʿAlī was killed. Cafés and other public places also provided venues for shadow plays (khayāl al-ẓill), which regularly poked fun at the foibles of politicians and bureaucrats. Especially during the period of Ottoman control over large portions of the Arabic-speaking world, the Karagöz puppet show was a prevalent popular source of public entertainment, much like its Western analogue, the Punch-and-Judy play. All these different types of public dramatic events retained their popularity throughout the premodern era and remained a source of inspiration for playwrights into the modern period, particularly for those who endeavoured to combine some of the effects of Brechtian dramatic theory with a search into the heritage of the Arab past for inspiration.
In addition to all the above manifestations of the dramatic in the premodern era, the written texts for a series of 13th-century plays by the Egyptian oculist Ibn Dāniyāl have survived. Because the author’s preface notes that these “new” plays were intended to replace a series of other scripts that had become hackneyed, it seems likely that the performance tradition into which they were intended to fit had been in existence for some time. Ibn Dāniyāl’s examples probably reflect the general spirit of the genre in that they are bawdy farces, full of slapstick incident and scatological reference; the chief character in one of the plays, Ṭayf al-Khayāl, is al-Amīr Wiṣāl, translatable as Prince Intercourse.
In 1847 Mārūn al-Naqqāsh, who had recently returned from a stay in Italy, obtained permission from the Ottoman authorities in Syria to produce in his house Al-Bakhīl, a play inspired by Molière’s drama L’Avare. Most of the actors involved either were members of his family or were friends. While there are reports of earlier performances by visiting European theatre troupes, this performance is generally regarded as the beginning of the modern Arabic tradition of staged performance of text-based drama. These early beginnings in Syria were among the many social and cultural phenomena in that region that were disrupted by the civil war that erupted in the 1860s. The Naqqāsh family troupe and others moved to Egypt, where the cultural and political atmosphere was more conducive to theatre; prominent among the other troupes was that of Abū Khalīl al-Qabbānī, whose performances in Damascus had been censored and even canceled after complaints from the conservative Islamic establishment. The theatrical scene that these Syrian émigrés encountered in Egypt was both lively and varied. To perform his dramas in the colloquial dialect, the Egyptian Jewish playwright Yaʿqūb Ṣannūʿ had assembled a troupe that attracted the attention of the khedive of Egypt, Ismāʿil, who encouraged Ṣannūʿ to produce more—until, that is, he discovered that he himself was the butt of some of the humour. Alongside such popular fare, the translator Muḥammad ʿUthmān Jalāl “Egyptianized” several plays by Molière, including, most famously, a version of Tartuffe, Al-Shaykh Matlūf. The Egyptian public thus found an evening’s entertainment might consist of a serious text-based drama based on the fabled Arabian past, a popular farce with strong political overtones, or even the performance of an opera by Giuseppe Verdi at the newly constructed opera house.
In fostering this performance tradition, Egypt served a pioneer role in the Arabic-speaking world after the earlier but aborted initiatives in the Syrian region. Drama spread to other regions through the visits of troupes from both Western countries and Egypt itself. This was particularly true for the countries of northwest Africa (the Maghrib), where such visits to Tunisia in 1908 and Morocco in 1923 led to the appearance of local troupes, while the famous actor Jūrj Abyaḍ—a Christian from Syria—took his renowned troupe from Egypt to Iraq in 1926.
Because of the popularity of slapstick forms and the increasingly prevalent role of singing and dancing in performances, Arab audiences maintained an ambiguous understanding of the essence of drama—whether, in short, it was “literature” or entertainment. In response there arose a perceived need for plays that would underline the literary and textual aspect of drama. The fulfillment of that project was the enormous achievement of the Egyptian writer Tawfīq al-Ḥakīm, who, because of the theatre’s reputation, felt constrained to publish his earliest plays under the pseudonym Ḥusayn Tawfīq.
Beginning in the 1930s, Tawfīq al-Ḥakīm composed a series of lengthy plays based on themes culled from Greek legend, the Qurʾān, and Middle Eastern history in order to create a dramatic literature that was acceptable to the critical establishment in Egypt and beyond, particularly with regard to its merit as “literature.” The first of the plays was Ahl al-kahf (Eng. trans. Tawfīq al-Ḥakīm’s The People of the Cave), based on the legend of the Seven Sleepers of Ephesus, who emerge from a prolonged period of sleep to find themselves living in the Christian era. Ahl al-kahf is probably based on the interpretation of this story in sura 18 of the Qurʾān. Attempts to perform this play onstage in the 1930s revealed at once a tension between, on the one hand, a quest for a “literary” tradition of Arabic drama based on the form of the language that is standard throughout the Arab world and, on the other, the natural desire to employ colloquial dialects and other local cultural phenomena to portray the immediate and pressing social and political issues of the day—a tension that has continued to dog Arabic drama ever since (although, it must be said, with a host of intermediate positions between these two poles). Other plays by al-Ḥakīm, such as Shahrazād (1934; “Scheherazade”), Pijmalīyūn (1942; “Pygmalion”), and Al-Malik Ūdīb (1939; “King Oedipus”; Eng. trans. in The Arab Oedipus), all involve a minimum of action onstage and dialogues between characters in which philosophical positions are argued at length. Initially, al-Ḥakīm responded to criticisms regarding the actability of these plays by resorting to the notion of a “theatre of ideas” and the argument that these were plays intended for reading only. However, as al-Ḥakīm’s career proceeded, he undertook a number of experiments in an attempt to reconcile the tensions that his pioneering works had provoked and illustrated. In the 1940s he penned a number of one-act plays, initially for newspaper consumption, many of which succeeded through a necessarily more concentrated medium in lending greater movement to the dramatic action; Ughniyat al-mawt (1950; “The Song of Death”; Eng. trans. in Fate of a Cockroach, and Other Plays) is particularly noteworthy in this regard.
Later full-length plays, such as Al-Sulṭān al-ḥāʾir (1960; “The Sultan’s Dilemma”; Eng. trans. in Fate of a Cockroach, and Other Plays), suggest that al-Ḥakīm was more aware of the need for action and event, and several of his later plays were acted onstage with notable success. However, the other area in which his ongoing experiments were most noteworthy, if not always successful, was that of dramatic language. Ironically, one of his most successful plays (and productions) was an Absurdist drama, Yā ṭāliʿ al-shajarah (1962; The Tree Climber), where the usage of the standard literary language in dialogue helped contribute to the “unreal” nature of the play’s dramatic logic. Al-Ḥakīm also wrote a few plays in the colloquial dialect of Egypt, but his most memorable experiment was his attempt to forge what he termed a “third language,” which achieved a cleverly crafted level between the literary and the colloquial through the use of syntactic and lexical elements common to both. The result allowed a play to be read on the page as a literary text and to be acted onstage as a somewhat lofty version of the colloquial.
Modern Arabic drama
Al-Ḥakīm was one of the favourite authors of Egyptian President Gamal Abdel Nasser, who had come to power during the revolution of 1952, and he was perhaps the major Egyptian cultural figure in the following decades. The enormous process of social and political change in Egypt provided a rich backdrop for the development of a new tradition of theatre, and the cultural apparatus of the government provided abundant funding for that process. Theatre was apparently regarded as one of the few allowable outlets for the expression of public concerns and doubts that were rigorously controlled elsewhere. In retrospect, the two decades after 1952 have come to be regarded as a kind of “golden era” for not merely Egyptian drama but Arabic drama as a whole. Virtually every aspect of the theatrical community—the cultural apparatus of the state, a relatively large cluster of playwrights, a cadre of producers and directors (many of them trained in Europe and, most notably, the Soviet Union), and a group of well-qualified and involved critics—seemed to be working toward common goals. Beginning in the 1950s and ’60s with Nuʿmān ʿĀshūr, who used a series of plays to present the Egyptian public with insightful analyses of its own class structure and values, a series of dramatists, among them Saʿd al-Dīn Wahbah, Maḥmūd Diyāb, and ʿAlī Sālim, penned in the colloquial dialect of Cairo dramatic texts that were highly successful on stage. Another contributor to this rich period in Egyptian theatrical life was Yūsuf Idrīs, whose celebrated play Al-Farāfīr (1964; The Farfoors, or The Flipflap) combined elements of traditional comic forms of dramatic presentation with such Brechtian effects as the presence of an “author” as a stage character and the use of theatre-in-the-round staging. Alfred Faraj took a somewhat different course, invoking tales and incidents from history and folklore (and especially from The Thousand and One Nights) in order to illustrate contemporary political and social realities. Faraj chose to follow al-Ḥakīm in selecting as his language medium a more literary level of Arabic than that adopted by his fellow dramatists and yet one that was readily adaptable to acting onstage. This gave him the additional advantage of affording his plays a broader audience throughout the Arabic-speaking world. Even within the less-fertile environment of the 1980s and ’90s, a younger generation of Egyptian dramatists made notable contributions to the genre. Of these, Muḥammad Salmāwī and Lenīn al-Ramlī were the playwrights whose works were most often performed.
These patterns of development in Egypt were echoed elsewhere in the Arab world, albeit within differing time frames. Following the early stages that have been sketched above, further developments were, more often than not, tied to the processes of nation building that followed the achievement of independence during the 1950s and ’60s. In Syria Saʿdallāh Wannūs made use of his strong interest in the theory of drama, and particularly in the relationship of stage to audience, to compose a series of works that made important contributions to the development of experimental theatre in the Arab world. Staged in the aftermath of the Arab-Israeli Six-Day War of June 1967, Ḥaflat samar min ajl al-khāmis min Ḥuzayrān (1968; “Soirée for the 5th of June”) was a devastating commentary on the Arab defeat and on the Arab leaders who for several days had used the media to claim that victory was at hand (leading, almost automatically, to the play’s being banned). Mughāmarat raʾs al-mamlūk Jābir (1971; “The Adventure of Mamlūk Jābir’s Head”) and Al-Malik huwa al-malik (1977; “The King’s the King”) continued his ongoing experiments with theatre dynamics through what he termed masraḥ al-tasyīs (“theatre of politicization”). Because Wannūs was such a crucially important figure, other Syrian and Lebanese dramatists of the latter half of the 20th century operated somewhat in his shadow, but Muḥammad al-Māghūṭ, ʿIṣām Maḥfūẓ, and Mamdūḥ ʿAdwān wrote significant plays that were successfully performed at theatre festivals.
The lot of the Palestinian literary community, which reflected the turmoil that affected the larger community throughout the second half of the 20th century, was such that the promotion of a dramatic tradition proved extremely difficult and often impossible. However, there were plays that reflected the trials and conflicts that were part of daily life, such as Muʿīn Basīsū’s Thawrat al-Zanj (1970; “The Zanj Revolt”) and the poet Samīḥ al-Qāsim’s Qaraqāsh (1970). The tightly controlled circumstances in which the Palestinians lived their lives also led to the appearance of one of the most interesting and creative theatre troupes in the Middle East, the Ḥakawātī troupe (named for the ḥakawātī, or traditional storyteller), which emerged from an earlier group known as Al-Balālīn (“Balloons”). An itinerant troupe established in 1977, Ḥakawātī toured villages and performed its own plays in a variety of public spaces through the turn of the 21st century.
Tunisia and Morocco provide some of the best examples of a thriving theatre tradition. The Tunisian writer ʿIzz al-Dīn al-Madanī, one of the most fruitful contributors to the history of modern Arabic drama during the 20th century, composed a series of plays that were both experimental and popular; they included Thawrat ṣāḥib al-ḥimār (1971; “The Donkey Owner’s Revolt”) and Dīwān al-Zanj (1973; “The Zanj Collection”). Moroccan theatre was represented at the turn of the 21st century primarily by the multitalented al-Ṭayyib al-Ṣiddīqī, who adapted textual materials culled from the heritage of the past, as in Dīwān Sīdī ʿAbd al-Raḥmān al-Majdhūb (1966; “The Collection of Sīdī ʿAbd al-Raḥman al-Majdhūb”), and produced them with his own troupe, often casting himself in a role in which he would exhibit a unique comic flair.
The theatre movement in Iraq was also constricted by political circumstances, but the dramatic tradition continued even so through the 1990s; an Iraqi play won first prize at the prestigious Tunisian Carthage Festival in 1999, for instance. Most prominent among 20th-century Iraqi playwrights was Yūsuf al-ʿĀnī, whose Anā ummak yā Shākir (1955; “Shākir, I’m Your Mother”) graphically portrays the misery of the Iraqi people in the period before the downfall of the monarchy in the revolution of 1958. Elsewhere in the Arabian Gulf, theatre remained, where it existed at all, a very young cultural phenomenon, and efforts in the early 21st century to foster a dramatic tradition vied with the popularity of forms of entertainment readily available via television, CDs, DVDs, and the Internet.
Arabic drama seemed likely to remain a problematic genre in the 21st century, but one fulfilling an important cultural function. By daring to raise issues of political and social importance in a public forum and by testing the limits of the local and the pan-Arabic worlds through experiments with language, it showed signs of illustrating many of the larger areas of concern within the Arabic-speaking countries. While the status of drama and its practitioners varied widely across the region, it remained an invaluable outlet for popular sentiment and creative energy.
As part of annual tribal festivals during the pre-Islamic period, poets would compete against each other in jousts, and a master poet would be asked to judge who was the winner. In other words, criticism in Arabic literature is as old as the literary tradition itself, and a remarkable feature of many Arab societies today is the extent to which public performances by poets can still be subject to the instantaneous assessment of their audience; upon request, particular lines that appeal to the mind and ear are repeated.
The process of recording the text of the Qurʾān in written form, of sifting the different versions of the revelations into a single canonical version, of continuing the quest for linguistic precedents in the oral tradition of pre-Islamic poetry, and of authenticating transmitters involved the making of critical judgments and the establishment of principles of value. The earliest texts of literary criticism in Arabic thus involve the process of “ranking” poets, that being part of a larger process of establishing ṭabaqāt (“classes,” or “levels”). Two such early works belong to al-Aṣmaʿī and his student Ibn Sallām al-Jumaḥī; the latter’s Ṭabaqāt fuḥūl al-shuʿarāʾ (“Classes of Champion Poets”) categorizes poets by both period and theme without providing any principles for his judgments. It fell to their successors to provide such criteria and the theoretical justification for them. Ibn Qutaybah, for example, wrote a famous introduction to his own 9th-century compilation of poets, Kitāb al-shiʿr wa al-shuʿarāʾ (“Book of Poetry and Poets”), in which he suggested that ancient poetry could not be deemed superior merely because it was old. The 9th-century grammarian Thaʿlab of al-Kūfah organized his Qawāʿid al-shiʿr (“The Rules of Poetry”) along syntactic principles, thus illustrating the continuing linkage between the philological demands of textual research and the study of the corpus of early Arabic poetry.
The emergence of a system of Islamic education and increasing contacts with other cultures led to an increasing concern with the modes of textual analysis. Poetry proved a rich field of exploration in this endeavour, and two scholars made important contributions to the analysis of poetry; their works were to have a major impact on the Arabic poetic tradition for centuries. Late in the 9th century, Ibn al-Muʿtazz, who was both poet and critic (and who, as a member of the caliphal family of the ʿAbbasids, died after only one day as caliph), emulated his predecessors by assembling his own Ṭabaqāt al-shuʿarāʾ (“Classes of Poets”). But by then Ibn Qutaybah’s suggestion that older poems were not necessarily better than newer ones seems to have taken hold, insomuch as Ibn al-Muʿtazz concentrated his work on his own contemporaries. However, he is most famous for his Kitāb al-badīʿ (The Book of Tropes), in which he provides a list of five major poetic devices (including metaphor and simile) and then lists a further group of “discourse embellishments.” While his goal was to demonstrate that these devices were present in Arabic writing from the outset and that their utilization by poets was primarily a matter of good (or bad) taste, his listing became a kind of challenge to future writers on poetics, who managed to compile ever longer lists. The second of these scholars was Qudāmah ibn Jaʿfar, whose Naqd al-shiʿr (“Evaluation of Poetry”) provides specific criteria for assessing the quality of poetry; he defines it as “discourse with rhyme, metre, and intention.” What is perhaps most remarkable is that this specific definition of poetry based on both rhyme and metre was to remain the predominant criterion in any definition of the poetic in Arabic until the mid-20th century.
The positioning of criticism within the context of an ever-expanding system of Islamic education and research was, not unnaturally, the trigger for a series of debates. A large number of studies were devoted to discussions of the merits and faults of two poets in particular, Abū Tammām and al-Mutanabbī; efforts to place both these preeminent figures of the 9th and 10th centuries into a balance raised questions of principle and application that were widely debated. On a more general plane, the central position of the Qurʾān within the Islamic community as a whole and the “challenge” (taḥaddin) that it posed to would-be imitators led to the development of another critical approach whereby the achievements of poets were measured against the Qurʾān’s miraculous qualities (Iʿjāz al-Qurʾān, or the “inimitability of the Qurʾān”). At the hands of al-Bāqillānī, the odes of Imruʾ al-Qays and al-Buḥturī were examined for their moral and stylistic qualities and found wanting. However, with ʿAbd al-Qāhir al-Jurjānī, a paramount figure of the 11th century in Arabic and world criticism, the comparison of the tropes of the Qurʾānic text with other types of text became a highly sophisticated exploration of the nature of meaning. His Dalāʾil al-Iʿjāz (“Proofs of Iʿjāz”) and Asrār al-balāghah (“Secrets of Eloquence”) are major monuments of classical Arabic critical thought.
Compilations and manuals
In addition to these particular features of the critical tradition in Arabic, the premodern period was also characterized by the same trend toward the categorization of textual materials and their organization into anthologies, specialized manuals, and other types of compilation that was occurring in the Islamic courts (see aboveBelles lettres and narrative prose: The concept of adab). One of the earliest such works was Abū Hilāl al-ʿAskarī’s 10th-century Kitāb al-ṣināʿatayn, al-kitābah wa al-shiʿr (“The Book of the Two Skills, Scribal Arts and Poetry”), the title of which notes what was for al-ʿAskarī the relatively recent placement of textual analysis devoted to artistic prose alongside the traditionally prestigious genre of poetry. While al-ʿAskarī joined his predecessors in collecting, indeed increasing, the list of poetic devices, his primary aim was to compile a manual that would explain the basic elements of balāghah (“correct style”), including such topics as grammatical accuracy and plagiarism. Al-ʿAskarī’s work was carried on and expanded in another important piece of synthesis, Ibn Rashīq’s Al-ʿUmdah fī maḥāsin al-shiʿr wa adabihi wa naqdihi (“The Mainstay Concerning Poetry’s Embellishments, Correct Usage, and Criticism”). The comprehensive coverage that this work provided of previous writings on the various subfields of poetics—prosody and poetic genres and devices, for example—and the critical insights that Ibn Rashīq himself inserted into his discussion of the critical controversies of his time made it a primary reference work to which scholars referred for many centuries.
The increasingly prominent role that belles lettres came to occupy in the life of the court and its patronage system was reflected in a later work of compilation, Ḍiyāʾ al-Dīn ibn al-Athīr’s Al-Mathal al-sāʾir fī adab al-kātib wa al-shāʿir (“The Current Model for the Literary Discipline of the Scribe and Poet”), where the sequence of functions found in the title very much reflects the author’s own career as an accomplished writer of belles lettres. Ibn Rashīq’s Al-ʿUmdah also provided the evaluative basis for Al-Muzhir fī ʿulūm al-lughah wa anwāʿihā (“The Luminous Work Concerning the Sciences of Language and Its Subfields”), a huge work of compilation by the 15th-century Egyptian polymath Jalāl al-Dīn al-Suyūṭī, in which he examined every conceivable aspect of the compositional process, starting at the level of the syllable, and in the process expanded the listing of poetic devices to some 236.
The tenacious longevity of this manual tradition is well illustrated by the late 19th-century work Al-Wasīlah al-adabiyyah ilā al-ʿulūm al-ʿArabiyyah (“The Literary Method for the Arabic Sciences”), in which the Egyptian scholar Ḥusayn al-Marṣafī returned to the classical heritage (and particularly to al-ʿAskarī’s Kitāb al-ṣināʿatayn) in order to provide a study of prosody, the syntactic function of words, and the varieties of poetic devices. The result was a genuine exercise in neoclassicism, whereby the contents of manuals compiled by his forebears over many centuries were revived for a later era.
The 20th century and beyond
At the beginning of the 20th century, literary criticism remained very much in the tradition of the premodern period, with emphasis still firmly placed on the analysis of texts and their functions, linguistic and aesthetic. As was the case with the literary genres themselves, this critical heritage now came into contact with the traditions of European literature. Students from the Arab world were sent to Europe to study, and they returned to their homelands bringing with them impressions of an entirely different cultural environment, new literary genres (novel, short story, and literary drama, for example), and different approaches to the evaluation of literary creativity. The Europe that these Arab visitors encountered was one that was very much influenced by Romanticism and the schools of thought that followed it, and the enhanced role that such an aesthetic provided for the expression of the individual voice gave Arab poets a golden opportunity to break from the straitjacket of panegyric poetry, with its penchant for hyperbole and its accompanying system of patronage. The social role of the poet underwent a gradual process of change, and the increasing expression of nationalist sentiment, whether pan-Arab or local, within the political life of the region gave further stimulus to these trends.
Such tendencies were at their most vigorous among the writers of the mahjar (the name given to émigré writers in the Americas), but similar movements emerged in the Arabic-speaking world itself, albeit at a slower pace. The period between the two world wars (1920–39) saw the heyday of romantic poetry in Arabic. While critics such as ʿAbbās Maḥmūd al-ʿAqqād and Ṭāhā Ḥusayn began their careers as diehard opponents of the principles of premodern criticism, they both maintained a careful watch on experimentation in literature and were swift to condemn younger writers who adopted too radical a stance toward tradition. It was surely a sign of the pace of change in the 20th century that later in their careers both these eminent modern Egyptian critics become reactionary figures, tilting against the results of processes of change following World War II and the culmination of prolonged struggles against colonialism that took the form of independence for many Arab nations during the 1950s.
These processes of profound political transformation were accompanied by equally significant changes in criticism. After World War II numerous critics urged a totally different approach to literature; the fact that French philosopher and novelist Jean-Paul Sartre’s Qu’est-ce que la littérature? (1947; What Is Literature?)—with its call for literature at the service of the people—was translated into Arabic during this period is very significant. Among the more prominent voices in urging a move away from an isolated “ivory tower” attitude toward literature (of which romantic and symbolist writers were accused) were Luwīs ʿAwaḍ, Maḥmūd Amīn al-ʿĀlim, Ḥusayn Muruwwah, and ʿUmar al-Fākhūrī. This push toward a literature of “commitment” (iltizām) became a constant of Arabic literary criticism; Al-Ādāb, one of the most prominent literary journals founded in the Arabic-speaking region in the latter half of the 20th century, was established by the Lebanese writer Suhayl Idrīs specifically to forward such an approach. Beginning in the 1950s, a great deal of committed literature was penned by Arab writers; topics such as the Palestinian people provided a natural focus for such writing, but the goals of the Arab peoples and their individual nation-states—establishing a sense of identity, for instance, and developing balanced relationships with Western countries—involved, more often than not, the active involvement of creative writers and critics within the cultural apparatus of the different regimes. The linkage between politics, literature, and literary criticism remained a direct one.
Two particular concerns seemed to characterize much literary criticism in the Arabic-speaking world during the late 20th century: the definition of modernity and the issue of “particularity.” The Syrian-born Lebanese poet Adonis (ʿAlī Aḥmad Saʿīd) devoted much attention to the question of “the modern” in Arabic literature and society. His most comprehensive exploration of the topic took the form of the four-volume study Al-Thābit wa al-mutaḥawwil (1974–78; “The Static and the Dynamic”), in which he surveys the entire Arabic literary tradition and concludes that, like the literary works themselves, attitudes to and analyses of them must be subject to a continuing process of reevaluation. Yet what he actually sees occurring within the critical domain is mostly static and unmoving. The second concern, that of particularity (khuṣūṣiyyah), is a telling reflection of the realization among writers and critics throughout the Arabic-speaking world that the region they inhabited was both vast and variegated (with Europe to the north and west as a living example). Debate over this issue, while acknowledging notions of some sense of Arab unity, revealed the need for each nation and region to investigate the cultural demands of the present in more local and particular terms. A deeper knowledge of the relationship between the local present and its own unique version of the past promises to furnish a sense of identity and particularity that, when combined with similar entities from other Arabic-speaking regions, will illustrate the immensely rich and diverse tradition of which 21st-century litterateurs are the heirs.
Practical Essay (DRA3061)
|Staff||Mr Martin Harvey - Convenor|
|Pre-requisites||Successful progression from Drama Level 3, Term one|
|Duration of Module||Term 2: 11 weeks;|
This module aims to allow each student: a) to draw together the experience of theatre-making gained through the degree programme; b) to apply this experience and learning to a context beyond the University, and to develop associated skills that might be applicable in future employment; c) to work in a group (usually of five-seven students) in the complex logistics of mounting a culminating presentation, that is likely to take the form of a performance; d) to guide an individual and collaborative process of creative work, and to contribute to the creative work of their peers.
ILO: Module-specific skills
- 1. Experiment and to produce an original performance or performance-related composition for a student-selected context/audience beyond the university
- 2. Articulate a set of appropriate research questions, a research context and a set of working methodologies (and bring these together in the form of a mid-process presentation to the full year group and an abstract presented to staff in advance of the final practical examination)
- 3. Engage with the selected context/audience throughout the production process, and make appropriate creative choices
- 4. Utilise practical, creative and organisational skills in bringing work to performance/presentation
- 5. Co-operate with others, both inside and outside the university context
- 6. Reflect on, analyse and evaluate the creative process with an appropriate critical distance
ILO: Discipline-specific skills
- 7. Relate to others in theatrical processes and performances - to work effectively with others in small task-orientated groups and to initiate and sustain creative, analytic and interpretative work within strict time limits and to solve a number of specific technical problems and apply that understanding to performance work
- 8. Utilise research tools and to translate theory into practice
- 9. Contribute research to small groups in effective presentations, to evaluate visual evidence and to develop advanced confidence in the ability to analyse, critique and manipulate complex material
- 10. Engage critically and analytically with physical discipline - to develop thoughtful creative processes, an understanding of physicalisation in performance and the capacity to articulate that understanding in appropriate ways
- 11. Engage critically and analytically from different theoretic perspectives, to explore theoretical concerns through practice, and vice versa, and to synthesise findings in practical tasks
ILO: Personal and key skills
- 12. Develop advanced personal research skills using personal initiative - to set personal objectives that are linked to a sense of challenge and extending boundaries and to identify and evaluate personal learning strategies that are self-critical as much as self-reflective
- 13. Develop group co-operation skills, including the ability to give and receive constructive critical feedback, and to improve communication skills and advanced analytic abilities in discussions
- 14. Develop advanced confidence in performance skills and public presentation, in a variety of situations and/or with a variety of audiences, both of dramatic practice and researched material.
- 15. Think laterally and demonstrate originality in problem solving
- 16. Express and communicate creative ideas and images, and to initiate and sustain creative work, both group and solo
- 17. Collaborate in various groups and group sizes, to learn elements of teamwork and presentation, and to negotiate and manage conflict when appropriate and to demonstrate leadership skills when appropriate
- 18. Balance self-direction and collaborative work; to adapt and design working methods for each new situation, self-management, collaborative working skills, problem solving, critical analysis and valuing own and others' ideas and beliefs
This module is the culminating practical element of a full-time Drama student's work over the three-year programme. It is an invitation to create collaboratively an original work for performance/presentation. To some extent, then, it replicates the processes of professional theatre groups whilst allowing students to build on their previous experience. Three sessions with tutors will take place during the process, at which the students will present and discuss their work. Additional support/feedback is available from peer 'buddy' groups. In addition, each group is expected to: 1. provide regular reports to a supervisor; 2. give a short, mid-module progress report to the full year group; 3. submit an abstract (comprising a set of research questions appropriate to context/audience, a research context and a set of working methodologies) to the module convenor in advance of the final practical work. Examiners will take account of this abstract when assessing the practice. Individual fifteen-minute vivas are conducted after the final performances/presentations, at which each student is expected to reflect on, analyse and evaluate the creative process with an appropriate critical distance. Students will be encouraged to keep personal documentation of their work throughout the Practical Essay process, which will help them in preparing for their vivas.
Learning activities and teaching methods (given in hours of study time)
|Scheduled Learning and Teaching Activities||Guided independent study||Placement / study abroad|
Details of learning activities and teaching methods
|Category||Hours of study time||Description|
|Scheduled learning and teaching activities||132||Workshopping, tutorials and performance|
|Guided independent study||168||Preparation|
|Form of assessment||Size of the assessment (eg length / duration)||ILOs assessed||Feedback method|
|Short mid-term group report to full year||5-10 minutes||2-3,5,8-9,11-13,15-18||verbal feedback|
|Group abstract||1 sheet A4||1-3,5,8-9,13,15||written and verbal feedback|
|Regular group reports to supervisor||short oral/written reports allied to supervisory meetings||2-3,5,8,9,11-12,15-18||verbal feedback|
Summative assessment (% of credit)
|Coursework||Written exams||Practical exams|
Details of summative assessment
|Form of assessment||% of credit||Size of the assessment (eg length / duration)||ILOs assessed||Feedback method|
|Practical performance/presentation, length as appropriate to context (indeed, judging this correctly is part of the task). Possible contexts might include (but by no means be limited to): a 1 hour piece of story-theatre in a heritage site; a 2 hour workshop plus a 30 minute T.I.E. performance in a school; a week-long web-based multi-media work||80||as appropriate to context||1-5,7-18||verbal and written feedback|
|Viva||20||15 minutes||1-4,6,8-12,15-16,18||written feedback|
Details of re-assessment (where required by referral or deferral)
|Original form of assessment||Form of re-assessment||ILOs re-assessed||Timescale for re-assessment|
|Practical performance/presentation||Practical performance/presentation||1-5,7-18||Referral/deferral period|
Indicative learning resources - Basic reading
In conjunction with the supervisor, each student devises a personal reading and research programme.
Module has an active ELE page?
Indicative learning resources - Web based and electronic resources
Available as distance learning?
Last revision date
Key words search
drama, practical essay, performance, contextual practice, relational, devising