(In the Public Theater Hall)... A discussion opens questions of development and interrogates the reality of theater in Kuwait
Kuwait City, August 11 (KUNA) — The lecture “The Text in Popular Theater,” held today, Tuesday, as part of the “Summer Cultural Festival 18” events at Al-Shamiya Theater, opened a space for dialogue on the status of the theatrical text and its role in shaping popular productions, as well as ways to develop the experience of private theater in Kuwait.
The lecture was presented by Dr. Mohammed Al-Muhanna, a professor of criticism and theatrical literature at the Higher Institute of Performing Arts, with artist Mohammed Al-Humli as the discussant. They examined the state of the theatrical text in popular theater, the relationship between the playwright, the director, the production team, and the producing entity, and the extent to which this relationship influences the final form of the theatrical work.
They emphasized the importance of the role played by the National Council for Culture, Arts and Letters in sustaining cultural activity and organizing events targeting various demographics and age groups, noting that the “Summer Cultural Festival” offers a diverse program that strengthens the presence of culture, arts, and theater in the local landscape.
Dr. Al-Muhanna explained that the lecture aims to open a field for discussion, reflection, and review with those working in and interested in private theater, moving away from didactic or purely theoretical approaches. He clarified that the discussion focuses on the status and role of the text in popular theater, and on preserving its content and spirit when adapting it into a stage production.
He noted that, in its traditional form, the text serves as the fundamental starting point for any theatrical work, whether authored by a single writer, the result of collective work, or adapted from a novel, story, or idea. He pointed out that Kuwaiti theater, in its early stages, witnessed flexible approaches to the text, improvisation, and the collective development of ideas.
For his part, artist Al-Humli reviewed aspects of his experience, covering school, academic, and popular theater, as well as various forms of theatrical writing. He affirmed that the text, in its essence, remains one regardless of its type or target audience. He clarified that the difference lies not in the text itself but in its execution and the producing entity that determines its direction and final form.
Al-Humli stressed the importance of supporting writers and creators by providing an environment that helps them develop their ideas and texts. He expressed his preference for local texts and his commitment to drawing on local ideas and stories, re-presenting them in a contemporary theatrical format.
Discussing the relationship between the author and the production team, Al-Humli explained that the text does not end with the written version; it undergoes developmental stages during rehearsals and execution. The nature of the production may necessitate deleting certain scenes, adding others, or rearranging them to better serve the work. He emphasized that this process does not mean discarding the text, but rather transforming it from a written document into a performance crafted by a large number of artists and technicians.
He affirmed that the author’s flexibility and cooperation with the director and production team are crucial factors in the success of the theatrical experience. He cited the experiences of several Kuwaiti writers and directors, particularly writer Badr Al-Muharraqi, as a model of a flexible author who grants the director and team space to work on and develop the text to serve the production.
Al-Humli noted that a director may rearrange the structure of the text or the way events are narrated according to their artistic vision, which does not necessarily mean abandoning the original text. He explained that differing visions among directors can result in the same text being presented in multiple forms.
He also pointed out that comedy theater, in particular, requires space for interaction and change during performances, given the nature of the acting and the energy possessed by some artists. He clarified that a coherent text provides the foundation that allows actors to improvise and add performance details without losing the work’s core direction.
The lecture also touched upon prominent experiences in Kuwaiti theater that contributed to diversifying performance forms and developing the relationship with the text, including the works of artist Tariq Al-Ali, director Sulaiman Al-Bassam, and other theatrical figures who have enriched the Kuwaiti theater scene.
The speakers affirmed that the relationship between the “author’s text” and the “director’s text” represents a creative journey during which the text changes and evolves from the writing stage through rehearsals to the final performance. They described this process as a natural and healthy part of theater production, provided its goal is to serve the work and preserve its essence.
They also highlighted the importance of Kuwaiti private theater and its role in the region, noting that many Kuwaiti production companies present works that gain popularity and demand abroad. Furthermore, they stressed that developing the theatrical text reflects positively on the image and presence of Kuwaiti theater in the Gulf and Arab worlds.
They concluded by emphasizing the importance of continuing the dialogue on the state of the theatrical text in Kuwait and ways to elevate it, in line with developments in life and the artistic and media landscape, thereby enhancing the capacity of popular theater to present more diverse and impactful works. (End) S.H.D / T.A.B
