Documents the Kuwaiti theater (Episode I) A task force Arab representation in 1961 Prof. Dr. / Mr. Ali Ismail
Introduction: Sitbadr to the reader's mind - at first sight - when he reads the title of this article; I will speak about the theater in Kuwait what is known about it! Or I will quote from the writings of several previous workshops on the history of the Kuwaiti theater! In fact, had to answer (yes), and also (not)! Yes; because I talk about the theater in Kuwait since its inception; the beginning of scientific methodology in the sixties of the last century. And (No); because I will not talk about the beginnings of the Kuwaiti theater, depending on what is known in general; but I will talk him through a set of documents (unpublished), which documented the movement of the play in Kuwait for ten years (1961-1971 AD). Will just mention some of the texts of documents and images, or content of others; but I will explain what it say of the forgotten facts, and things are technical analysis, makes the reader rethink the value of these documents again. The reader may ask: What is the value of these documents now, has passed the written nearly half a century?! I will answer for that is that the value of these documents in its information unknown to the youth of the present generation, and certainly it is anonymous information for young future; and the value of knowledge is priceless. So the first goal of the publication of these documents, is the goal of knowledge required for the generations, especially if the information in these documents Sistthmrha researchers in their writings. The second value of these documents, they include in that they belong to the leaders, thinkers and founders of the movement of the play in Kuwait on the basis of a scientific systematic, such as: Hamad Issa Rejaib, Ahmed Mishari aggressive, and Abdul Aziz al-Saraawi, Mohammed Abdullah Al-Fahd, Abdul Razzaq al-Basir, Zaki Tulaimat, and others. This means that we will read their thoughts and Taktitathm in order to configure the Kuwaiti theater movement; be a beacon for the theater in the Gulf States and Arab countries. And perhaps re-read their documents, shows us the way now! Perhaps the advantage of the things which we were not aware of, let alone what their ideas and projects and layouts are not at the time, and it's time to revive them, or thinking in its implementation! And thus clear the second goal for the dissemination of these documents; that the goal of skill, is to take advantage of the former thought, and then adapt it to draw from it a new thought. The third and final goal, is to target the emotional, the praise of the role of the early pioneers and workers in the Kuwaiti theater movement, and this offers them the least thing, to keep their names in the sky-lit theater history and the Arab Gulf. The final question, who wishes to put the reader in the shame of me where these documents are not published? The answer is a story short, that: I traveled to Kuwait on secondment to work at the Higher Institute of Dramatic Art in Kuwait - in late 1997 - After several months, handed Dean a letter formally charged me when writing a book about the history of the Institute - on the occasion of Silver Jubilee - and the pleasure of this commissioning, and began the work of the book, and I finished it almost in the summer of the following school year 1998/1999 AD. And before it was delivered - and before my trip to Cairo to spend a summer vacation - I met with Mr. (Jaber Anzi) - A electrodes stage management of the three with the two professors: Hamad patchy, and Faleh Al-Mutairi - National Council for Culture, Arts and Letters in Kuwait, he was a student in the final year when I worked at the Institute and strengthened the friendship between us later, when I met him he asked me: Do I finished writing a book of the Institute? I said: Praise be to God. He said: can not be more than a page or two pages? I said to him: Can not .. The Onhih. Before leaving, I asked him: Why do you ask? He said yesterday went down to the basement of the administration; to throw some things are not important, Vlsqt Bhmai paper, and when I saw the sign Seized (Zaki Tulaimat) below, and when I saw the history, and his grandmother in the sixties!! Voagafth to speak - of the intensity of joy - and I told him I am you, and will be an official letter with me to discuss this in the basement. In the morning I went to the speech, which was handed to the artist (Mohammad Mansour) - Director of Administration at the time - he welcomed about it, and went down to the basement with Jaber Al Anzi; to find piles huge stock obsolete files and torn; and read Jaber Al-Anzi question did not I put, he answered his own: This results from the rubble of the Iraqi invasion on government institutions, and must get rid of this debris. I asked him to keep me in the basement and passes at the end of the timing of official business. He said: How is this?! Basement (basement) in the ground, and no conditioners or fans, and we are at the end of the month of July!! How will bear six hours of work, to looking at these piles in this suffocating atmosphere deadly?! I said to him: I am the happiest people with this. Fterkny with crazy and went away. In fact, I stayed in this suffocating atmosphere for six hours looking and dig for any document to the book, and thank God that I was tired did not go in vain, I have obtained the documents you dream of existence, and then embarked on her summer months, and prepared the formulation of the book of the Institute again. With the beginning of the study manuscript delivered to the Dean of the Institute, I am a security self-assessment is not unprecedented; but unfortunately did not agree on the Dean published - for reasons unnecessary to mention - so I did publish it at my own expense in Kuwait in 1999. It is worth mentioning that the documents published in the book of the Institute, is only a small percentage of other documents, which are still with me, and you set the stage for publication in a separate book, but the circumstances of my works the other I have not had time to initiate the publication of these documents; and when I asked my management journal ( Coles) to write some of the issues, raised in the draft publication of these documents in several articles, published in successive episodes, and I agreed administration kindly on this project, which begins this article. Perhaps the passage of more than ten years, I deal with these documents, and read more than once, and my writings in the field of Arab theater, and my work in the UAE University for four years, and communicative Balemsrhieddin in the UAE, such as: Omar Ghobash, Habib Ghuloom, and Mahmoud Abu Abbas, Yahya Al-Hajj, and my work at the University of Qatar for three years, and my association with symbols play and cash, such as: Moses Zainal, and Hamad Al Rumaihi, and Ghanem Sulaiti, Wed. Hassan Rashid, Hassan Hussein, a socialist in seminars Festival Kuwait theater and events for more than three sessions, and the Festival Theatre countries Persian Gulf last , and the Festival Theatre Damascus .. All of this - perhaps - makes me qualified to explain the documents - the subject of this article - and Ahllaha scientific analysis, in order to achieve the desired objectives: cognitive, skills, and compassionate. Methodology: Before access to the publication of documents and analysis, it must be noted the approach, exemplified by: first, the publication of the original document-text, and attach the image; but any document we will adopt in Halqatna? In fact, hundreds of documents! It is not reasonable to publish, no matter how Bglet rings in number; so we will rely on the comprehensive documents, which chronicle the movement of the play - or the same subject - in total. We will rely on any of the final report on the subject, or the comprehensive report of the theatrical season ... And so on. So that each report is interpreted and explained and comment, by sub-documents that show some of its parts, as we shall see. Before proceeding to mention the text of the document, Snmahd the theme of introduction shows its historic theater movement in Kuwait, through the use of including published by the Kuwaiti press in a timely manner; to be the intellectual background for the reader; from which to track the subject, and then follow the links to come, the relevant previous or later. Thus, the reader comes out at the end of episodes a general idea of the composition and comprehensive information about the movement of the theater in Kuwait, and can also build his ideas and his studies and knowledge on what to benefit from these documents, and appreciation of the value, and thus achieve the goals mentioned above. Submission of the document: It is known that the Department of Social Affairs and Labor in Kuwait summoned (Zaki Tulaimat) in March 1958; to evaluate the artistic activity in Kuwait; he wrote his famous - published in the Book of Khalid Saud Al-Zaid (theater in Kuwait: articles and documents) 1983 - This report included a manifestation of activity technical in Kuwait in the period, in addition to proposals Tulaimat in strengthening and upgrading it. What is new in this, that Zaki Tulaimat record his memories on tape (cassette) in 1978 - is still preserved in the National Center for Theater, Cairo, have not been published until now - which he said on his first visit to Kuwait: "I noticed that the people of the Kuwaiti people, active, and has a desire to severe learning, as well as physical capabilities. and these things are the conditions to be met by any people who wants to stand up, and keep pace with civilization. " Elsewhere he said: "The most important thing in the Kuwaiti people that he does not speak much, as far as what works, is an energetic people; because at heart he wants to do something, he wants to break the barriers to get out into the light, he has a desire to work that leads to evolution." The impact of the report Tulaimat - in addition to his opinion of the Kuwaiti people - that the fragmentation and Kuwaiti media - particularly print - to the theater and its importance. Vcilh Arab - in the first issue in December 1958 AD - published an article entitled "Arab theater in danger"; it ended with the author (Anwar Ahmad) said: "Theatre mirror reflects the renaissance of the peoples, and a tool huge education, entertainment, and disciplining the soul. It is our duty to make efforts to have a scene worthy of Boothbtna present, and future expectancy. " This view is consistent with the proposals Tulaimat in his report, and confirms his opinion of the Kuwaiti people, which has begun to realize the importance of the theater, and strive to find a manner commensurate with the cultural renaissance of Kuwait. In the second edition of the magazine (Arabic) - January 1959 - we Zaki Tulaimat overlooks in his article (in the evolution of a great Arab representation), speaking on the history of Arab women to enter the field of drama, and at the end he said: ".. so change the old concept art of Arab representation , and became the art of today's address public education and to improve their view of life in the present and the future ...... is no longer representative Arab Razha under the burden of humiliation and contempt .. he raises the head high culture and his knowledge and his art. " Like these words, paving the way for his play, which kicks off in Kuwait, according to the scientific concept of theater. With officials in Kuwait to examine and report proposals Tulaimat three years, and in April 1961, they decided to start implementation, and began the newspaper (letter) Kuwait attention to it, saying - in the first issue dated 06.04.1961 - under the title (short news): " will be of Kuwait in the early art of the band and music representation, called the Department of Social Affairs Zaki Tulaimat to oversee the formation of the band. " This news was published before the advent of the newspaper Tulaimat to Kuwait, where it was published in its third - in 20/4/1961 - news to Kuwait after the coming days. After coming published - in its fifth 4/5/1961 - dialogue with him under the title (Tulaimat Zaki says: Kuwait interesting to express Matih). In this dialogue, during the Tulaimat brought in for the purpose, of implementing the directives of HE Sheikh Sabah Al Ahmad Chairman of the Department of Social Affairs - at the time - to form a theater group made plays Alvsih Arabic tongue; to revive the glories of Arabism, and draw lessons from it. Here, the journalist asked him an important question, which he said: "What is the fate of the popular theater if you created a task force to represent the Arab world?" What is meant here (Theatre People) - which was working under the leadership of (Mohammed Nashmi) since 1956 before the advent of Tulaimat - replied Zaki said: "determination [ie, folk theater] recovery is no doubt; because the establishment of the Task Arab theater will deepen the awareness of the public, and when it deepens public awareness of the increased turning on concerts, folk theater and other theaters, which may after that. The mission of the popular theater is to address the course conditions of fact in the life current; in order to revive the traditions of Kuwait Arabian horses, develop and dispose of the false ones, to find a better life for future generations. its mission is not in this case what can be done by the Arab group representation. " Through this statement, we know that Tulaimat fully aware of the task of the popular theater, and that the composition of the new band does not mean dispensing with the popular theater, but will be complementary to his band; in order to achieve the desired rise of the Kuwaiti theater. This is in addition to the expectation that several Kuwaiti theater groups will be composed in the future, which will be achieved already, as we shall see. And began the task of Zaki Tulaimat in the formation of the new band, it is clear that the task of choosing the elements of the band was a difficult task, Fjradh letter - in its sixth 11/5/1961 - tell us the news says: "The Egyptian actress Zozo Hamdi al-Hakim arrived in Kuwait at the invitation of the Department of Affairs social work with the Kuwaiti theater supervised by Tulaimat. " The meaning of the words (the Kuwaiti theater) a band configured to be Kuwait, Kuwait recipe here intended to enroll the band to the State, and is not intended (the Kuwaiti theater), which was founded later in 1964. And we thought that the paper Sttanna as the representative of Kuwait is not Egyptian. And passed several months and Tulaimat still looking for representatives, until a decision was the establishment of the Arab theater in 10/10/1961. Any band that has been created not even exist, or to its members! Although it did not give up Tulaimat, has been looking up newspaper told us the message - in the number 25 of 19/11/1961 - that "Mr. Zaki Tulaimat chose Ms. Amal Jaafar secondary school student broadcaster on television, Mr. Zaki is still looking for new faces." This news confirms that the search is still ongoing, and perhaps (hopefully Jaafar) was one of the applicants for the representation, Tulaimat whispers to her the benefit of the radio, or Tulaimat was part of the Selection Committee for the announcers at the time. A few days later; find the Kuwaiti press are talking about a brigade of Arab representation, and their representatives, and the intention to represent the width of the first scene Shuwaikh secondary, as if the fate of Tulaimat finally responded, and his band will see the light. These things are known historically, but completely unknown to us, is how to chose the members of his band Tulaimat? And who are the representatives, who formed the nucleus of his band? How Antqahm Test them and not others? What is his plan to continue acting? What is the vision of their development of technically and scientifically? All of these questions it will answer the following document - subject of the article - a report attached to a letter from Zaki Tulaimat to Mr. Hamad Issa Rejaib - Director of the Department of Social Affairs and Labour - dated 22/11/1961, which reads says: Report Task Force on the formation of Arab representation The following are the steps taken to select members of the Arab representation, and the outcome of these steps: - First, set up a committee to select members of the band is composed of two professors Nashmi Mohammed, Mohamed Hammam al-Hashemi, and myself. Second, the Committee held its first meeting on Thursday, November 2, 1961 m at five in the evening, the auspices of the status of folk art, has already aired this meeting that the Kuwaiti Broadcasting House a brief statement calling on Kuwaiti youth theater enthusiasts to come forward to join the band. The number of applicants without hope, please, as it was noted that these radio stations have not achieved their intended purpose, given the small number of her mirror and shortening her words, they have taken the other steps and through the weekly newspapers and advertising in cinemas and television has led to these methods and the influx of young people from various levels to appear before the Committee test The total number of about 150 hundred and fifty. If the data broadcast to the public, included to indicate that it will be the final regular band, financial rewards, doubling the number of applicants. Third, the Commission took a test applicants to determine suitability of the band Arab, in the meetings of the ten between 2, 23 November 1961, and it is possible to decrease the number of these sessions and committee concludes its work in the shortest time, if the applicants most of whom applied to the test They memorized the pieces performed. Was incumbent on the Commission to give them multiple opportunities for applicants ready for testing. Fourth: The Committee has taken in judging the applicants, that the elevated Tamgahm emotion in play, including throwing and representative, to approach the same performance, in terms of loudness and the scrutiny of the safety of the characters and pronunciation. The Committee held a division of applicants in terms of the degree of mastery, into four sections: - Good, above average, average, and below average. If the number of Section October 14, including 8 of the Kuwaitis. And the number of the second section 17, 12 of them Kuwaitis. And the number of third section 19, including 8 of the Kuwaitis. Thus, totaling 49 Fifth: The Committee therefore found that the conduct of the liquidation of the names came in the first three sections, for the selection of the finest, and the combination of all levels in one level and at one time. The Committee concluded to the selection of 44 people will be the statement of their names and positions they occupy. Sixth, the Committee believes that not only the number of band members on this issue, but goes beyond, to the number of those who come last, followed by the rank obtained by the test, or who are hoping to join the band of new elements. And for the following reasons: - 1 - to have the opportunity to learn and learning the arts of representation given and practices, to the largest number of amateur theater, as the exercises on the contribution the band plays, make up the studies in the arts of theater, and thus achieve the establishment of the Task Arab representation purposes at once: make plays high honors glories Arabism and working to create awareness of art, then the revival of studies in the arts of the theater on the range quite a bit. 2 - a reserve of representatives to ensure the orderly progress of work and good attendance to attend the training sessions. 3 - The role of each actor in the play (alternate) The place in the event that fails for some reason. Seventh, and leave the Committee for the Department of estimating the financial rewards offered by the members of the band, but it recommends that these bonuses are rewarding, you want to continue to work in the band, and consistent with the efforts of its members. Eighth: The Committee suggests in this regard be placed a minimum of these benefits, and a maximum, and between the two sets remuneration of each member, depending on the adequacy and the amount of his commitment to attend work, in anticipation that the result in the success of this experience, the experience of the establishment of a theater Arab meets the ingredients Professional sound, and a platform for Arab writers addressed in the affairs of life through the art of acting. If this experiment succeeds the relative success of the line and the truth is that this experiment is the first of its kind in Kuwait, if this re-organization of this band on the face of another, the most important of which is to cut off the band members to work in theater, and Atovrua it all the time and hum, as It is no secret that the members selected after the test, hold jobs in different departments or in other facilities to earn a living. If this is done, the art of acting has become a vital facility for the professional, and enter the Kuwaiti theater of this crucial stage in order and its inherently properly. If you agree to the above, we will start training the first play (haggard), including our hands of the selected items, starting on Saturday, November 25, 1961, to conduct the exercises every day, starting at the fourth to eight in the evening, in the place of your choice. Yours sincerely,
[Signed] Zaki Tulaimat
Analysis of the document:Despite the importance of this document, as it reveals the administrative side the unknown behind the creation of a task the Arab theater, as the first theater group Kuwaiti government, but Stora many in this document, you need us to explain and clarify that it contains information, summarized in the following notes :1 - combine to form a selection committee of representatives of the band Mr. (Mohamed Nashmi), a supervisor of the Youth Care at the time, in addition to being one of the early pioneers in the history of the Kuwaiti theater, and the leader of the popular theater. This means that Tulaimat was used by his experience, to confirm - his previous statement in the press - that the theater will be complementary to the Arab theater popular; in order to achieve the desired goal. My point is that Tulaimat Balnchmi used in the selection committee, because Tulaimat - after the despair of finding new representatives - the expectation that most of the representatives of the People's Theatre Company, will be among the applicants. This may accelerate the popular band stop activity; but when representatives know that Nashmi within the selection committee, it means tacit approval of affiliation to the Arab theater. The inclusion of Mohammad Hammam al-Hashemi - expert social - might have a culture of broad, and his work in the field of translation and publishing, where he writes articles, and translated novels, and the newspaper (the letter) of Kuwait, published his translations of many of them novel (Smilies three) to Tolstoy. This activity takes to be a member of the selection committee of representatives will deliver pieces of dialogue; may be localized.2 - The Kuwaiti people are more inclined to the view of the tendency to listen, when broadcast radio Kuwaiti test applicants for the band, did not file a few; but when it broadcast the movie theaters this announcement provides one hundred and fifty! The reader may think that Kuwait does not have a little cinema at the time, and the fact that the opposite is true! Kuwait has had a more than three dozen cinemas in that period - and based on the ads newspaper (Kuwait) - number 10 in 26/8/1961 - including: Al-Andalus, and red, and Paradise, and about the summer, and Fahaheel, and a cinema club bustards, and a cinema club Union , and a cinema club Ahmadi, Ahmadi and summer, and a cinema Mina Al-Ahmadi.3 - The document that applicants to the test, the numbers swelled to 150, ahead, of different levels. What is meant here in the proficiency levels of representation; but we do not know all of the Kuwaitis, or whether they are of other nationalities? Is tempted to know their names; to know who they are top amateur, who wished to stage acting in Kuwait in 1961? Perhaps these questions ask for the impossible! The fact that the documents in this sub-impossible to come and answer our questions, and she says that the applicants were (134) ahead, based on a document titled (in the agenda for all those who submitted to the committees starting on 02/11/1961 until 27/11 / 1961, and new so they have a group of Arab theater). Applicants for non-Kuwaitis, were: Egypt, Jordan, Syria, Lebanon, and Palestine. The Persian Gulf countries, among whom was Khalfan Abdullah al-Shibh from Oman, Ahmed Abdel-Aziz Almknzi from Saudi Arabia. Perhaps these two names, the beginnings must be added to the theater history of Oman and Saudi Arabia, as the first amateur to the practice of applied drama. The forerunners of Kuwait are: Ibrahim Suleiman Saleh, Ahmed Jassim Alonhiawl, Habib Ahmed, Ahmed Hassan Al-Mulla, Ahmed Khader Abbas, Ahmed Abdul Aziz Al-Jarallah, Asad Mahmood Hussain, Khalid Amin Abdullah [Hajj Amin], Jassim Mohammed Hassan, Ali Jaafar Murad believer [Jafar insured], beautiful Khudair, Jawad Behbehani, Muhammad Jawad Hassan, Hassan Yaqub Ali, Hussein Ali Saleh [Hussein Saleh, Hussein Abdel-Rahman, Hussein Ghuloom, Khaled Saleh Ibrahim Al-Nafisi [Khalid al-Nafisi, Khaled Abdel-Latif Obaid, Khalid Ali Jaber Khalil Ibrahim Hasan, David Solomon David, Rashid Rashid Saqr, Rashdan Guide Rashdan, Saad Salem Saad Mubarak Faraj, Solomon Joseph Solomon, Salah Ibrahim Ahmed Hussein, Hussein Abdul Redha Abbas, Abdul-Jabbar Majid, Abdul Hassan Khalfan, Abdul Hussein Abdul-Redha, Alazaviha Abdul Rahman, Abdul Aziz, forgiveness, Khuraibet Abdullah, Abdullah Suleiman Awad, Abdullah Abdul Rahman Al-Fahd, Abdullah Mansour, Abdul Wahab Sultan, Osman Khalid Mohi, Adnan Hussein Khalaf, pin Ali, Ali Ahmed Mulla, Ali Abdullah Al-Arabi, Ali Nasser Mohammed Buraiki, Ali Nasser Mohammed, Jesus Fahd Saleh Ghanim Al-Ghanim, Qahtan Kamel Mahmoud, Mohammed Jassim Al-Misbah, Mohammad Saud Al-Oun, Mohammad Abdul-Aziz al-Manea, Ramadan Abdullah Mohammad Thani, Mohammed Abdullah Ramadan, Mohamed Ali Alimi, Mohamed Ali Abdel-Aziz, Mohammed Issa Al-Hashash, Mohammed Fahad Aldebbas, Mahmoud Kassem Zayed Mazv Almazv, Matouk Ahmed, Nahi Ezabi Abdullah, Mullah Mzaal Hazza, Yassin Mohamed, Jacob Hussein al-Bakr, Mohammed Yaqub, Yusuf Juma, Joseph Rashid Abdullah, Abdullah Yusuf commentators.4 - Tulaimat pointed out in his document that the lengthening in the testing sessions; because the applicants did not apply in most of whom they keep their own parts, so given the other opportunities for them. From the documents relating to this matter, we find Zaki Tulaimat gives another opportunity to re-test (Abdullah Khuraibet), when labeled by the talent, as it [ie Khuraibet] was not ready on Tuesday, 7/11/1961, the day fixed for the test; so Chairman of the Committee wrote his name in the box next to the notes: "re-made at the request of Mr. Zaki Tulaimat." And (Hussein Saleh) did not attend the test day, corresponding to 14/11/1961, and submitted made the next day. Thus we see the patience Tulaimat the sons of the applicants who labeled them artistic talent; Had Tulaimat harsh obstinate, was re-testing to Khuraibet, were not allowed to Hussein's good to re-test after failing to attend, even if done Tulaimat this became Khuraibet and Hussein Saleh of the stars the Kuwaiti theater later!!5 - It was noted that the Committee for the test, set criteria for judging the extent of his troubles deliver advanced and representative in terms of loudness and the scrutiny of the safety of the characters and pronunciation. An example of this - the reality of the documents - the Chairman wrote next to the name of the applicant Jordan (Yassin Mohamed Gad Abdel-Fattah): "severity of a good gives a lot more if grown. I think that to join the band." In contrast, the applicant's name written next to the Palestinian (Abdul-Raouf Sobhi blonde): "I do not know how to read, does not improve anything."6 - The committee of the division of the applicants in terms of the degree of mastery, into four sections: - Good, above average, average, and below average. Were accepted the first three levels, and does not know any advanced so far, what is the degree of success in these tests, and all that one knows is that it is acceptable in the band, or is rejected by the association. I do not think the flags of the Kuwaiti theater and the early astronauts, they know so far is the time tested technical levels in 1961. The published document did not specify the names; but identified only numbers! Here comes the importance of sub-documents or statements to the test committees, to give us estimates, levels and names of their respective owners. The document posted here says that the number of the first part of obtaining the estimate (Good) 14, including 8 of the Kuwaitis. And the correct number before the final liquidation, they say nine, were: Jacob, Hassan Ali, Murad, Jaafar al-Momen, Ali Nasser Mohammed, Abd al-Rahman Alazaviha, Khuraibet Abdullah, Mohamed Abdelaziz invincible, Abdul Hussain Abdul Rida, Abdul Redha Abbas, Khalid Al-Nafisi. And the number of the second part of obtaining the estimate (above average) 17, 12 of them Kuwaitis, and the correct number before the final liquidation, says they are ten, are: Jawad Behbehani, Abdel-Mohsen Khalfan, Ahmed Habib, Ali Mullah Ahmed, Ahmed Hassan Al-Mulla, Adnan Hussein Khalaf, Khalid Amin Abdullah [Haj Amin, Amin Abdullah Hussein, Mubarak Saad Al Faraj, Ahmad Abdel Aziz Al-Jarallah. And the number of Section III of obtaining the estimate (average) 19, including 8 of the Kuwaitis; and the correct number before the final liquidation, says they are fifteen, are: Issa Fahd, Abdul Wahab Sultan, Rashdan Guide Rashdan, beautiful Khudair, Ahmed Jassim Alonhiawl, Asad Mahmood Hussain , Abdul Rahman Ahmad Muhanna, Hussein Saleh, Mahmoud Kassem Zayed Hussein Ghuloom, Mazv Almazv, Ghanem Ghanem Saleh, Yousuf Abdullah Al-Sharah, Mohammad Abdullah Ramadan Kuwait, Hussein Abdel-Shapur.7 - Tulaimat chosen more than forty element; to create the first theater group under the supervision of a Kuwaiti government; but he hopes more .. Why? Because he wanted to be a team plays trainees the art of theater theory and practice, to make this team a new target of the technical objectives, which studies the establishment of a play to create awareness of art in the Kuwaiti society. This is a method in the planning Tulaimat drama in any country. Has already been applied to him in Egypt, then in Tunis, and here is applied in Kuwait, as we shall see in the upcoming series.8 - in this document, succeeded Tulaimat to form the nucleus of the first contingent of representatives of Kuwaiti, but he feared for his experience of failure; because representatives staff in government departments and their work is an obstacle to attendance Offers band; therefore propose to the Hamad Rejaib - in the case of the success of the band in the width of the first - to work full-time representatives of the theater, away from their careers. This procedure means (professional), as we shall see later. From the documents on this matter, we know that Hassan Yaqub Ali had been working in the Department of Public Works, Jaafar believer in social affairs, Abdul Rahman Alazaviha in the Department of Health, Abdul Hussain Abdul Rida in the technical section of the print and publishing, and Khalid Al-Nafisi in stores Nafisi, market traders, and the Secretary of Haj whereabouts of Commerce Sayed Ismail market Mubarakiya, Saad Faraj Department of Public Works, and Ahmed Abdul Aziz Al-Jarallah Department of Passports, Asad Mahmood public works, and Hussein Saleh Department of Justice, Ghanem Saleh Al-Ghanim Court of Appeal, and Yusuf Abdullah commentators Department of orphans ... Etc..And ends with the published document that the band's fledgling start their training on the first play will present, a play (haggard), is the subject of our article coming, God willing; to know the circumstances presented, and the extent of its share of success or failure, and the position of representatives of the Division of professionalism, and through the new documents did not published before
Introduction: Sitbadr to the reader's mind - at first sight - when he reads the title of this article; I will speak about the theater in Kuwait what is known about it! Or I will quote from the writings of several previous workshops on the history of the Kuwaiti theater! In fact, had to answer (yes), and also (not)! Yes; because I talk about the theater in Kuwait since its inception; the beginning of scientific methodology in the sixties of the last century. And (No); because I will not talk about the beginnings of the Kuwaiti theater, depending on what is known in general; but I will talk him through a set of documents (unpublished), which documented the movement of the play in Kuwait for ten years (1961-1971 AD). Will just mention some of the texts of documents and images, or content of others; but I will explain what it say of the forgotten facts, and things are technical analysis, makes the reader rethink the value of these documents again. The reader may ask: What is the value of these documents now, has passed the written nearly half a century?! I will answer for that is that the value of these documents in its information unknown to the youth of the present generation, and certainly it is anonymous information for young future; and the value of knowledge is priceless. So the first goal of the publication of these documents, is the goal of knowledge required for the generations, especially if the information in these documents Sistthmrha researchers in their writings. The second value of these documents, they include in that they belong to the leaders, thinkers and founders of the movement of the play in Kuwait on the basis of a scientific systematic, such as: Hamad Issa Rejaib, Ahmed Mishari aggressive, and Abdul Aziz al-Saraawi, Mohammed Abdullah Al-Fahd, Abdul Razzaq al-Basir, Zaki Tulaimat, and others. This means that we will read their thoughts and Taktitathm in order to configure the Kuwaiti theater movement; be a beacon for the theater in the Gulf States and Arab countries. And perhaps re-read their documents, shows us the way now! Perhaps the advantage of the things which we were not aware of, let alone what their ideas and projects and layouts are not at the time, and it's time to revive them, or thinking in its implementation! And thus clear the second goal for the dissemination of these documents; that the goal of skill, is to take advantage of the former thought, and then adapt it to draw from it a new thought. The third and final goal, is to target the emotional, the praise of the role of the early pioneers and workers in the Kuwaiti theater movement, and this offers them the least thing, to keep their names in the sky-lit theater history and the Arab Gulf. The final question, who wishes to put the reader in the shame of me where these documents are not published? The answer is a story short, that: I traveled to Kuwait on secondment to work at the Higher Institute of Dramatic Art in Kuwait - in late 1997 - After several months, handed Dean a letter formally charged me when writing a book about the history of the Institute - on the occasion of Silver Jubilee - and the pleasure of this commissioning, and began the work of the book, and I finished it almost in the summer of the following school year 1998/1999 AD. And before it was delivered - and before my trip to Cairo to spend a summer vacation - I met with Mr. (Jaber Anzi) - A electrodes stage management of the three with the two professors: Hamad patchy, and Faleh Al-Mutairi - National Council for Culture, Arts and Letters in Kuwait, he was a student in the final year when I worked at the Institute and strengthened the friendship between us later, when I met him he asked me: Do I finished writing a book of the Institute? I said: Praise be to God. He said: can not be more than a page or two pages? I said to him: Can not .. The Onhih. Before leaving, I asked him: Why do you ask? He said yesterday went down to the basement of the administration; to throw some things are not important, Vlsqt Bhmai paper, and when I saw the sign Seized (Zaki Tulaimat) below, and when I saw the history, and his grandmother in the sixties!! Voagafth to speak - of the intensity of joy - and I told him I am you, and will be an official letter with me to discuss this in the basement. In the morning I went to the speech, which was handed to the artist (Mohammad Mansour) - Director of Administration at the time - he welcomed about it, and went down to the basement with Jaber Al Anzi; to find piles huge stock obsolete files and torn; and read Jaber Al-Anzi question did not I put, he answered his own: This results from the rubble of the Iraqi invasion on government institutions, and must get rid of this debris. I asked him to keep me in the basement and passes at the end of the timing of official business. He said: How is this?! Basement (basement) in the ground, and no conditioners or fans, and we are at the end of the month of July!! How will bear six hours of work, to looking at these piles in this suffocating atmosphere deadly?! I said to him: I am the happiest people with this. Fterkny with crazy and went away. In fact, I stayed in this suffocating atmosphere for six hours looking and dig for any document to the book, and thank God that I was tired did not go in vain, I have obtained the documents you dream of existence, and then embarked on her summer months, and prepared the formulation of the book of the Institute again. With the beginning of the study manuscript delivered to the Dean of the Institute, I am a security self-assessment is not unprecedented; but unfortunately did not agree on the Dean published - for reasons unnecessary to mention - so I did publish it at my own expense in Kuwait in 1999. It is worth mentioning that the documents published in the book of the Institute, is only a small percentage of other documents, which are still with me, and you set the stage for publication in a separate book, but the circumstances of my works the other I have not had time to initiate the publication of these documents; and when I asked my management journal ( Coles) to write some of the issues, raised in the draft publication of these documents in several articles, published in successive episodes, and I agreed administration kindly on this project, which begins this article. Perhaps the passage of more than ten years, I deal with these documents, and read more than once, and my writings in the field of Arab theater, and my work in the UAE University for four years, and communicative Balemsrhieddin in the UAE, such as: Omar Ghobash, Habib Ghuloom, and Mahmoud Abu Abbas, Yahya Al-Hajj, and my work at the University of Qatar for three years, and my association with symbols play and cash, such as: Moses Zainal, and Hamad Al Rumaihi, and Ghanem Sulaiti, Wed. Hassan Rashid, Hassan Hussein, a socialist in seminars Festival Kuwait theater and events for more than three sessions, and the Festival Theatre countries Persian Gulf last , and the Festival Theatre Damascus .. All of this - perhaps - makes me qualified to explain the documents - the subject of this article - and Ahllaha scientific analysis, in order to achieve the desired objectives: cognitive, skills, and compassionate. Methodology: Before access to the publication of documents and analysis, it must be noted the approach, exemplified by: first, the publication of the original document-text, and attach the image; but any document we will adopt in Halqatna? In fact, hundreds of documents! It is not reasonable to publish, no matter how Bglet rings in number; so we will rely on the comprehensive documents, which chronicle the movement of the play - or the same subject - in total. We will rely on any of the final report on the subject, or the comprehensive report of the theatrical season ... And so on. So that each report is interpreted and explained and comment, by sub-documents that show some of its parts, as we shall see. Before proceeding to mention the text of the document, Snmahd the theme of introduction shows its historic theater movement in Kuwait, through the use of including published by the Kuwaiti press in a timely manner; to be the intellectual background for the reader; from which to track the subject, and then follow the links to come, the relevant previous or later. Thus, the reader comes out at the end of episodes a general idea of the composition and comprehensive information about the movement of the theater in Kuwait, and can also build his ideas and his studies and knowledge on what to benefit from these documents, and appreciation of the value, and thus achieve the goals mentioned above. Submission of the document: It is known that the Department of Social Affairs and Labor in Kuwait summoned (Zaki Tulaimat) in March 1958; to evaluate the artistic activity in Kuwait; he wrote his famous - published in the Book of Khalid Saud Al-Zaid (theater in Kuwait: articles and documents) 1983 - This report included a manifestation of activity technical in Kuwait in the period, in addition to proposals Tulaimat in strengthening and upgrading it. What is new in this, that Zaki Tulaimat record his memories on tape (cassette) in 1978 - is still preserved in the National Center for Theater, Cairo, have not been published until now - which he said on his first visit to Kuwait: "I noticed that the people of the Kuwaiti people, active, and has a desire to severe learning, as well as physical capabilities. and these things are the conditions to be met by any people who wants to stand up, and keep pace with civilization. " Elsewhere he said: "The most important thing in the Kuwaiti people that he does not speak much, as far as what works, is an energetic people; because at heart he wants to do something, he wants to break the barriers to get out into the light, he has a desire to work that leads to evolution." The impact of the report Tulaimat - in addition to his opinion of the Kuwaiti people - that the fragmentation and Kuwaiti media - particularly print - to the theater and its importance. Vcilh Arab - in the first issue in December 1958 AD - published an article entitled "Arab theater in danger"; it ended with the author (Anwar Ahmad) said: "Theatre mirror reflects the renaissance of the peoples, and a tool huge education, entertainment, and disciplining the soul. It is our duty to make efforts to have a scene worthy of Boothbtna present, and future expectancy. " This view is consistent with the proposals Tulaimat in his report, and confirms his opinion of the Kuwaiti people, which has begun to realize the importance of the theater, and strive to find a manner commensurate with the cultural renaissance of Kuwait. In the second edition of the magazine (Arabic) - January 1959 - we Zaki Tulaimat overlooks in his article (in the evolution of a great Arab representation), speaking on the history of Arab women to enter the field of drama, and at the end he said: ".. so change the old concept art of Arab representation , and became the art of today's address public education and to improve their view of life in the present and the future ...... is no longer representative Arab Razha under the burden of humiliation and contempt .. he raises the head high culture and his knowledge and his art. " Like these words, paving the way for his play, which kicks off in Kuwait, according to the scientific concept of theater. With officials in Kuwait to examine and report proposals Tulaimat three years, and in April 1961, they decided to start implementation, and began the newspaper (letter) Kuwait attention to it, saying - in the first issue dated 06.04.1961 - under the title (short news): " will be of Kuwait in the early art of the band and music representation, called the Department of Social Affairs Zaki Tulaimat to oversee the formation of the band. " This news was published before the advent of the newspaper Tulaimat to Kuwait, where it was published in its third - in 20/4/1961 - news to Kuwait after the coming days. After coming published - in its fifth 4/5/1961 - dialogue with him under the title (Tulaimat Zaki says: Kuwait interesting to express Matih). In this dialogue, during the Tulaimat brought in for the purpose, of implementing the directives of HE Sheikh Sabah Al Ahmad Chairman of the Department of Social Affairs - at the time - to form a theater group made plays Alvsih Arabic tongue; to revive the glories of Arabism, and draw lessons from it. Here, the journalist asked him an important question, which he said: "What is the fate of the popular theater if you created a task force to represent the Arab world?" What is meant here (Theatre People) - which was working under the leadership of (Mohammed Nashmi) since 1956 before the advent of Tulaimat - replied Zaki said: "determination [ie, folk theater] recovery is no doubt; because the establishment of the Task Arab theater will deepen the awareness of the public, and when it deepens public awareness of the increased turning on concerts, folk theater and other theaters, which may after that. The mission of the popular theater is to address the course conditions of fact in the life current; in order to revive the traditions of Kuwait Arabian horses, develop and dispose of the false ones, to find a better life for future generations. its mission is not in this case what can be done by the Arab group representation. " Through this statement, we know that Tulaimat fully aware of the task of the popular theater, and that the composition of the new band does not mean dispensing with the popular theater, but will be complementary to his band; in order to achieve the desired rise of the Kuwaiti theater. This is in addition to the expectation that several Kuwaiti theater groups will be composed in the future, which will be achieved already, as we shall see. And began the task of Zaki Tulaimat in the formation of the new band, it is clear that the task of choosing the elements of the band was a difficult task, Fjradh letter - in its sixth 11/5/1961 - tell us the news says: "The Egyptian actress Zozo Hamdi al-Hakim arrived in Kuwait at the invitation of the Department of Affairs social work with the Kuwaiti theater supervised by Tulaimat. " The meaning of the words (the Kuwaiti theater) a band configured to be Kuwait, Kuwait recipe here intended to enroll the band to the State, and is not intended (the Kuwaiti theater), which was founded later in 1964. And we thought that the paper Sttanna as the representative of Kuwait is not Egyptian. And passed several months and Tulaimat still looking for representatives, until a decision was the establishment of the Arab theater in 10/10/1961. Any band that has been created not even exist, or to its members! Although it did not give up Tulaimat, has been looking up newspaper told us the message - in the number 25 of 19/11/1961 - that "Mr. Zaki Tulaimat chose Ms. Amal Jaafar secondary school student broadcaster on television, Mr. Zaki is still looking for new faces." This news confirms that the search is still ongoing, and perhaps (hopefully Jaafar) was one of the applicants for the representation, Tulaimat whispers to her the benefit of the radio, or Tulaimat was part of the Selection Committee for the announcers at the time. A few days later; find the Kuwaiti press are talking about a brigade of Arab representation, and their representatives, and the intention to represent the width of the first scene Shuwaikh secondary, as if the fate of Tulaimat finally responded, and his band will see the light. These things are known historically, but completely unknown to us, is how to chose the members of his band Tulaimat? And who are the representatives, who formed the nucleus of his band? How Antqahm Test them and not others? What is his plan to continue acting? What is the vision of their development of technically and scientifically? All of these questions it will answer the following document - subject of the article - a report attached to a letter from Zaki Tulaimat to Mr. Hamad Issa Rejaib - Director of the Department of Social Affairs and Labour - dated 22/11/1961, which reads says: Report Task Force on the formation of Arab representation The following are the steps taken to select members of the Arab representation, and the outcome of these steps: - First, set up a committee to select members of the band is composed of two professors Nashmi Mohammed, Mohamed Hammam al-Hashemi, and myself. Second, the Committee held its first meeting on Thursday, November 2, 1961 m at five in the evening, the auspices of the status of folk art, has already aired this meeting that the Kuwaiti Broadcasting House a brief statement calling on Kuwaiti youth theater enthusiasts to come forward to join the band. The number of applicants without hope, please, as it was noted that these radio stations have not achieved their intended purpose, given the small number of her mirror and shortening her words, they have taken the other steps and through the weekly newspapers and advertising in cinemas and television has led to these methods and the influx of young people from various levels to appear before the Committee test The total number of about 150 hundred and fifty. If the data broadcast to the public, included to indicate that it will be the final regular band, financial rewards, doubling the number of applicants. Third, the Commission took a test applicants to determine suitability of the band Arab, in the meetings of the ten between 2, 23 November 1961, and it is possible to decrease the number of these sessions and committee concludes its work in the shortest time, if the applicants most of whom applied to the test They memorized the pieces performed. Was incumbent on the Commission to give them multiple opportunities for applicants ready for testing. Fourth: The Committee has taken in judging the applicants, that the elevated Tamgahm emotion in play, including throwing and representative, to approach the same performance, in terms of loudness and the scrutiny of the safety of the characters and pronunciation. The Committee held a division of applicants in terms of the degree of mastery, into four sections: - Good, above average, average, and below average. If the number of Section October 14, including 8 of the Kuwaitis. And the number of the second section 17, 12 of them Kuwaitis. And the number of third section 19, including 8 of the Kuwaitis. Thus, totaling 49 Fifth: The Committee therefore found that the conduct of the liquidation of the names came in the first three sections, for the selection of the finest, and the combination of all levels in one level and at one time. The Committee concluded to the selection of 44 people will be the statement of their names and positions they occupy. Sixth, the Committee believes that not only the number of band members on this issue, but goes beyond, to the number of those who come last, followed by the rank obtained by the test, or who are hoping to join the band of new elements. And for the following reasons: - 1 - to have the opportunity to learn and learning the arts of representation given and practices, to the largest number of amateur theater, as the exercises on the contribution the band plays, make up the studies in the arts of theater, and thus achieve the establishment of the Task Arab representation purposes at once: make plays high honors glories Arabism and working to create awareness of art, then the revival of studies in the arts of the theater on the range quite a bit. 2 - a reserve of representatives to ensure the orderly progress of work and good attendance to attend the training sessions. 3 - The role of each actor in the play (alternate) The place in the event that fails for some reason. Seventh, and leave the Committee for the Department of estimating the financial rewards offered by the members of the band, but it recommends that these bonuses are rewarding, you want to continue to work in the band, and consistent with the efforts of its members. Eighth: The Committee suggests in this regard be placed a minimum of these benefits, and a maximum, and between the two sets remuneration of each member, depending on the adequacy and the amount of his commitment to attend work, in anticipation that the result in the success of this experience, the experience of the establishment of a theater Arab meets the ingredients Professional sound, and a platform for Arab writers addressed in the affairs of life through the art of acting. If this experiment succeeds the relative success of the line and the truth is that this experiment is the first of its kind in Kuwait, if this re-organization of this band on the face of another, the most important of which is to cut off the band members to work in theater, and Atovrua it all the time and hum, as It is no secret that the members selected after the test, hold jobs in different departments or in other facilities to earn a living. If this is done, the art of acting has become a vital facility for the professional, and enter the Kuwaiti theater of this crucial stage in order and its inherently properly. If you agree to the above, we will start training the first play (haggard), including our hands of the selected items, starting on Saturday, November 25, 1961, to conduct the exercises every day, starting at the fourth to eight in the evening, in the place of your choice. Yours sincerely,
[Signed] Zaki Tulaimat
Analysis of the document:Despite the importance of this document, as it reveals the administrative side the unknown behind the creation of a task the Arab theater, as the first theater group Kuwaiti government, but Stora many in this document, you need us to explain and clarify that it contains information, summarized in the following notes :1 - combine to form a selection committee of representatives of the band Mr. (Mohamed Nashmi), a supervisor of the Youth Care at the time, in addition to being one of the early pioneers in the history of the Kuwaiti theater, and the leader of the popular theater. This means that Tulaimat was used by his experience, to confirm - his previous statement in the press - that the theater will be complementary to the Arab theater popular; in order to achieve the desired goal. My point is that Tulaimat Balnchmi used in the selection committee, because Tulaimat - after the despair of finding new representatives - the expectation that most of the representatives of the People's Theatre Company, will be among the applicants. This may accelerate the popular band stop activity; but when representatives know that Nashmi within the selection committee, it means tacit approval of affiliation to the Arab theater. The inclusion of Mohammad Hammam al-Hashemi - expert social - might have a culture of broad, and his work in the field of translation and publishing, where he writes articles, and translated novels, and the newspaper (the letter) of Kuwait, published his translations of many of them novel (Smilies three) to Tolstoy. This activity takes to be a member of the selection committee of representatives will deliver pieces of dialogue; may be localized.2 - The Kuwaiti people are more inclined to the view of the tendency to listen, when broadcast radio Kuwaiti test applicants for the band, did not file a few; but when it broadcast the movie theaters this announcement provides one hundred and fifty! The reader may think that Kuwait does not have a little cinema at the time, and the fact that the opposite is true! Kuwait has had a more than three dozen cinemas in that period - and based on the ads newspaper (Kuwait) - number 10 in 26/8/1961 - including: Al-Andalus, and red, and Paradise, and about the summer, and Fahaheel, and a cinema club bustards, and a cinema club Union , and a cinema club Ahmadi, Ahmadi and summer, and a cinema Mina Al-Ahmadi.3 - The document that applicants to the test, the numbers swelled to 150, ahead, of different levels. What is meant here in the proficiency levels of representation; but we do not know all of the Kuwaitis, or whether they are of other nationalities? Is tempted to know their names; to know who they are top amateur, who wished to stage acting in Kuwait in 1961? Perhaps these questions ask for the impossible! The fact that the documents in this sub-impossible to come and answer our questions, and she says that the applicants were (134) ahead, based on a document titled (in the agenda for all those who submitted to the committees starting on 02/11/1961 until 27/11 / 1961, and new so they have a group of Arab theater). Applicants for non-Kuwaitis, were: Egypt, Jordan, Syria, Lebanon, and Palestine. The Persian Gulf countries, among whom was Khalfan Abdullah al-Shibh from Oman, Ahmed Abdel-Aziz Almknzi from Saudi Arabia. Perhaps these two names, the beginnings must be added to the theater history of Oman and Saudi Arabia, as the first amateur to the practice of applied drama. The forerunners of Kuwait are: Ibrahim Suleiman Saleh, Ahmed Jassim Alonhiawl, Habib Ahmed, Ahmed Hassan Al-Mulla, Ahmed Khader Abbas, Ahmed Abdul Aziz Al-Jarallah, Asad Mahmood Hussain, Khalid Amin Abdullah [Hajj Amin], Jassim Mohammed Hassan, Ali Jaafar Murad believer [Jafar insured], beautiful Khudair, Jawad Behbehani, Muhammad Jawad Hassan, Hassan Yaqub Ali, Hussein Ali Saleh [Hussein Saleh, Hussein Abdel-Rahman, Hussein Ghuloom, Khaled Saleh Ibrahim Al-Nafisi [Khalid al-Nafisi, Khaled Abdel-Latif Obaid, Khalid Ali Jaber Khalil Ibrahim Hasan, David Solomon David, Rashid Rashid Saqr, Rashdan Guide Rashdan, Saad Salem Saad Mubarak Faraj, Solomon Joseph Solomon, Salah Ibrahim Ahmed Hussein, Hussein Abdul Redha Abbas, Abdul-Jabbar Majid, Abdul Hassan Khalfan, Abdul Hussein Abdul-Redha, Alazaviha Abdul Rahman, Abdul Aziz, forgiveness, Khuraibet Abdullah, Abdullah Suleiman Awad, Abdullah Abdul Rahman Al-Fahd, Abdullah Mansour, Abdul Wahab Sultan, Osman Khalid Mohi, Adnan Hussein Khalaf, pin Ali, Ali Ahmed Mulla, Ali Abdullah Al-Arabi, Ali Nasser Mohammed Buraiki, Ali Nasser Mohammed, Jesus Fahd Saleh Ghanim Al-Ghanim, Qahtan Kamel Mahmoud, Mohammed Jassim Al-Misbah, Mohammad Saud Al-Oun, Mohammad Abdul-Aziz al-Manea, Ramadan Abdullah Mohammad Thani, Mohammed Abdullah Ramadan, Mohamed Ali Alimi, Mohamed Ali Abdel-Aziz, Mohammed Issa Al-Hashash, Mohammed Fahad Aldebbas, Mahmoud Kassem Zayed Mazv Almazv, Matouk Ahmed, Nahi Ezabi Abdullah, Mullah Mzaal Hazza, Yassin Mohamed, Jacob Hussein al-Bakr, Mohammed Yaqub, Yusuf Juma, Joseph Rashid Abdullah, Abdullah Yusuf commentators.4 - Tulaimat pointed out in his document that the lengthening in the testing sessions; because the applicants did not apply in most of whom they keep their own parts, so given the other opportunities for them. From the documents relating to this matter, we find Zaki Tulaimat gives another opportunity to re-test (Abdullah Khuraibet), when labeled by the talent, as it [ie Khuraibet] was not ready on Tuesday, 7/11/1961, the day fixed for the test; so Chairman of the Committee wrote his name in the box next to the notes: "re-made at the request of Mr. Zaki Tulaimat." And (Hussein Saleh) did not attend the test day, corresponding to 14/11/1961, and submitted made the next day. Thus we see the patience Tulaimat the sons of the applicants who labeled them artistic talent; Had Tulaimat harsh obstinate, was re-testing to Khuraibet, were not allowed to Hussein's good to re-test after failing to attend, even if done Tulaimat this became Khuraibet and Hussein Saleh of the stars the Kuwaiti theater later!!5 - It was noted that the Committee for the test, set criteria for judging the extent of his troubles deliver advanced and representative in terms of loudness and the scrutiny of the safety of the characters and pronunciation. An example of this - the reality of the documents - the Chairman wrote next to the name of the applicant Jordan (Yassin Mohamed Gad Abdel-Fattah): "severity of a good gives a lot more if grown. I think that to join the band." In contrast, the applicant's name written next to the Palestinian (Abdul-Raouf Sobhi blonde): "I do not know how to read, does not improve anything."6 - The committee of the division of the applicants in terms of the degree of mastery, into four sections: - Good, above average, average, and below average. Were accepted the first three levels, and does not know any advanced so far, what is the degree of success in these tests, and all that one knows is that it is acceptable in the band, or is rejected by the association. I do not think the flags of the Kuwaiti theater and the early astronauts, they know so far is the time tested technical levels in 1961. The published document did not specify the names; but identified only numbers! Here comes the importance of sub-documents or statements to the test committees, to give us estimates, levels and names of their respective owners. The document posted here says that the number of the first part of obtaining the estimate (Good) 14, including 8 of the Kuwaitis. And the correct number before the final liquidation, they say nine, were: Jacob, Hassan Ali, Murad, Jaafar al-Momen, Ali Nasser Mohammed, Abd al-Rahman Alazaviha, Khuraibet Abdullah, Mohamed Abdelaziz invincible, Abdul Hussain Abdul Rida, Abdul Redha Abbas, Khalid Al-Nafisi. And the number of the second part of obtaining the estimate (above average) 17, 12 of them Kuwaitis, and the correct number before the final liquidation, says they are ten, are: Jawad Behbehani, Abdel-Mohsen Khalfan, Ahmed Habib, Ali Mullah Ahmed, Ahmed Hassan Al-Mulla, Adnan Hussein Khalaf, Khalid Amin Abdullah [Haj Amin, Amin Abdullah Hussein, Mubarak Saad Al Faraj, Ahmad Abdel Aziz Al-Jarallah. And the number of Section III of obtaining the estimate (average) 19, including 8 of the Kuwaitis; and the correct number before the final liquidation, says they are fifteen, are: Issa Fahd, Abdul Wahab Sultan, Rashdan Guide Rashdan, beautiful Khudair, Ahmed Jassim Alonhiawl, Asad Mahmood Hussain , Abdul Rahman Ahmad Muhanna, Hussein Saleh, Mahmoud Kassem Zayed Hussein Ghuloom, Mazv Almazv, Ghanem Ghanem Saleh, Yousuf Abdullah Al-Sharah, Mohammad Abdullah Ramadan Kuwait, Hussein Abdel-Shapur.7 - Tulaimat chosen more than forty element; to create the first theater group under the supervision of a Kuwaiti government; but he hopes more .. Why? Because he wanted to be a team plays trainees the art of theater theory and practice, to make this team a new target of the technical objectives, which studies the establishment of a play to create awareness of art in the Kuwaiti society. This is a method in the planning Tulaimat drama in any country. Has already been applied to him in Egypt, then in Tunis, and here is applied in Kuwait, as we shall see in the upcoming series.8 - in this document, succeeded Tulaimat to form the nucleus of the first contingent of representatives of Kuwaiti, but he feared for his experience of failure; because representatives staff in government departments and their work is an obstacle to attendance Offers band; therefore propose to the Hamad Rejaib - in the case of the success of the band in the width of the first - to work full-time representatives of the theater, away from their careers. This procedure means (professional), as we shall see later. From the documents on this matter, we know that Hassan Yaqub Ali had been working in the Department of Public Works, Jaafar believer in social affairs, Abdul Rahman Alazaviha in the Department of Health, Abdul Hussain Abdul Rida in the technical section of the print and publishing, and Khalid Al-Nafisi in stores Nafisi, market traders, and the Secretary of Haj whereabouts of Commerce Sayed Ismail market Mubarakiya, Saad Faraj Department of Public Works, and Ahmed Abdul Aziz Al-Jarallah Department of Passports, Asad Mahmood public works, and Hussein Saleh Department of Justice, Ghanem Saleh Al-Ghanim Court of Appeal, and Yusuf Abdullah commentators Department of orphans ... Etc..And ends with the published document that the band's fledgling start their training on the first play will present, a play (haggard), is the subject of our article coming, God willing; to know the circumstances presented, and the extent of its share of success or failure, and the position of representatives of the Division of professionalism, and through the new documents did not published before
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