We can say and assume that the fifth version of the « Theater required “She managed to escape from the ghosts of injustice and accusations of marginalization and played the role of victim to prove the existence of the forum, an international forum on political question, and how it can find its place in contemporary art practices, especially the” performing arts “, especially in the wake of the January revolution. The «Theater Theater» events are held in the city of Alexandria, and its first session in 2012. This year, the Forum was able to obtain the support of Afaq – the Arab Fund for Culture and Arts, and to build partnerships and collaborations with a number of embassies and cultural centers (the Swiss institution Bruhlvitzia, the Goethe Institute, the Danish Dialogue Institute, the Dutch Embassy and the French Institute). (From 27 March to 4 April), under the theme “Women’s Sisters”, 5 workshops entitled “The Social Body”, a contemporary dance workshop with dance designer and danceist Mohamed Fuad, alternative workshop with artist Salam Yousry, Creative with the writer, artist and researcher Zeinab Magdy, and the Dramaturgy workshop with Ferran Dordal The workshop represented with Stuart Lynch, as well as meeting a discussion with the performing arts value Hannah Bffucilr for artistic exchange, and meet with a discussion of the coordination of the immortality of Said Amer to provide a study researcher Alex Schindler art after the revolution, and a film and a debate organized by the writer of these lines. The event included nine performances. I have seen eight of them and I will try here to clash with that version of the forum and its theme through a dialogue with Adel Abdul Wahab, the technical director of the forum, and through comment and discussion and ask questions about the offers that I was able to follow. Each show is about one hour long, and all performances were performed at the Garage Theater at the Cultural Center of Jisweet, with the exception of Mohammed Foud’s “No Loss” exhibition on the stage of the French Institute. Zainab Magdy from “Very Ordinary People” The forum began with the presentation of Zainab Majdi « Very ordinary people , Where Zainab sits in front of a laptop on an office, next to a bottle of water, and in the background a projector screen displays the contents of the laptop screen. The only character in the show is the study and writing, but her mind is displaced to the tune and performs a text that combines dreams, nightmares, memories, stories and reflections culminating in units / stories ranging from personal to political (general), through reflections and questions about how memory works , And the relationship of power to the family or the family through different generations, the different dialogues with the different grandmothers, the relationship of Zainab with the father, and sometimes with the mother, or from remembering as a traitor, and often lacking in imagination (tales of childhood and neighbors) , Or from memory through the senses, The smell, in particular, to the most coherent text / display stories in my opinion, is the story of Nefertiti, who saw her head in the Egyptian Museum in Berlin, where she was involved in a workshop to write and prepare the text of that show. Zeinab takes Nefertiti’s own story, colonizing and occupying her head, her story of her arrival in Berlin, how she was dealt with by Nazism, the media and the Egyptian authorities later. In my estimation, the presentation may need to present its audiovisual material on the laptop, as a major component of a parallel relationship, rather than merely a translation, which may deepen the reception of the presentation text. The following presentation was ( Politics and love ) Of the Dutch artist Eva van Mannen, which is a musical performance that combines hip-hop, electronic music and poetry. Eva stands alone on stage, talking, playing and singing songs of self-experience, showing the ambivalent relationship between politics and love. She explained how she had not been arrested and questioned by the Dutch police because she appeared to be “a white European European with a white skin”, unlike her immigrant from a southern country, which the police asked him. Eva is a white European artist whose location and privileges seek to present a type of song with a clear and explicit message that carries a feminist approach that intersects with the criticism of racism, the history of European colonialism, capitalism and social networks that control our lives. One of the songs takes a mockery as a dialogue between a male and a female. (A man says to the singer: “Your words are philosophical, deep, revolutionary, and directly direct to a song.”) This song makes us ask the question of the permanent criticism that is directed at the various artistic practices involved in “political activist struggle” whether it is feminist or otherwise, which is ruled by it as direct, rhetorical and literate of low technical value. The question is: Is turning the table on that kind of Criticism as a masculine criticism, it completely withdraws its technical legitimacy and undermines it and stops it? On the other hand, a group of young men interacted with the songs with enthusiasm, applause, shouting and reverting, which IFA did not care much about, and considered Adel Abdul Wahab interact with music, while many of the attendees saw a rash of «Testosterone» excessively and is not without suspicion Harassment. This is how the forum began with an introduction by Adel Abdel Wahab, and two successive performances of two artists as a declaration of the theme of the forum, and its bias towards “non-traditional” forms of presentation, Adel said. Adel chose to describe “women” rather than “feminist” to describe the theme of the forum this year because the description of “women” in his opinion is broader, more comprehensive and more appropriate to the offers of that version than a “feminist” description, which Adel considers a more political description. He identifies movements and political groups and does not want the offers he chooses to be confused or misunderstood if a “feminist” description is used. For example, are you classified according to the second or third female wave and so on? From Show: Dialogues “Talks” is a Danish presentation by Stuart Lynch and Astrid Lund. This show deals with the emotional relationship between a man and a woman in a way that contrasts with the traditional style of the relationship. The seated woman appears more powerful and rational. Which includes diverse and sometimes contradictory movements at the same time as opposed to what women say. The show looks like a contemporary picture of a traditional drama theater based on dialogues about relationships, creating paintings like “statosat” Facebook, and we find them express what we feel, press “Lake” and then “Cher”. Although it is “style”, it is still within the framework of the style. It presents its perception of violence through a Tango dance in the Danish style free from violence and ends with a normal Aristotelian cleansing. View: Odyssey In the audesti show, Danish dancer Tilde Nudesen, who has a strong and clear muscular coordination, moves, runs and flops in a wide circle of audiences on stage. The story of the whole Odyssey takes on a material for political projections on the current momentary decisions of a European white woman to cynically present the issues of cultural differences and refugee camps, criticizing Trump, the Danish men, how Hollywood deals with a Trojan story and talking about the Calypso nymph Sex. From the perspective of Adel Abdul Wahab, this offer is a new offering to the Egyptian public. It is somewhat like its appearance, an interactive, interactive display with the audience. But after a while, when you are finished watching, you will feel that the show was haunted by the obsession of saying and doing everything, so he ended up offering nothing near .. a dazzling display of boredom. The performance lecture (Rosa and Luiza .. Manifesto Nsoy in dialogues) The performance lecture “Rosa and Luiza, Manifesto Feminists in Dialogues” by Ariana Koch and Sarena Chidigar was presented 11 times in streets, squares and museums in different forms in Switzerland and other countries. “Said Salma Said, a female activist and artist who participated in a workshop with the Swiss writers for three days. She presented a presentation as a result of that workshop on stage with Sherine Hegazy and Anna Castano Almondral. The workshop transformed the translation of the text into Arabic from the classical to the vernacular, as well as modifying simple parts of the text in accordance with Salma and Sherin’s theses, and to be able to reflect the different Swiss and Arab-Egyptian contexts. The lecture / text / presentation aspires from the title in presenting a non-authoritative alternative to manfesto as a form and performance, as content and content. As a form and performance, the show has traditionally been largely in the performance and casting of the manfesto (speaking in the mike – speaking from a higher level – the clothing – the neutral appearance) except for a choreographed by Shirin Hegazy parallel to the parting of the manfesto. In my opinion, the show needed more work on the performance and casting of the manfesto in order to present a different proposal that creates a controversy. On the content and content level, the vernacular was an appropriate choice for the traditional heterodoxy of the Manifesto. But the adoption of this manfesto is largely a rejection of patriarchal patriarchal lifestyles. This question is asked: Does feminism exist primarily at the level of masculinity rejection? Or in other wording: the definition of femininity as synonymous with male refusal to make masculinity a standard and a center? Can Manifesto be based on asking questions only, rather than providing answers to the contradictions that can arise within the same feminist discourse between the contexts of the north and the south of the world? What is the possible intersection of women’s discourse in its various forms with other anti-hegemonic speeches? What is the “self” space in a collective Manfesto? I think that the lecture and the presentation offer an ambitious and important idea worthy of long and serious research and work so that it can be presented in the best form. From view: Land without words Since 2009, German director Ludia Zimeke has presented “Land Without Words” for a playwright by the same name as the award-winning German composer Dia Lor, which she wrote after visiting Kabul, capital of Afghanistan in 2005. Monodrama is an artist who is influenced by the ideas of the American artist of Russian origin, Mark Rothko, on “abstract expressionism” where colors, lines and shapes are freer and more expressive when expressing the inner self on the surface of the smooth white painting, Simulation of reality, traditional formal concepts, or representation of things. Suddenly, you are moving to a city like Kabul or any Middle Eastern city under war, why? We do not know “through traditional oriental music, and all her ideas for art change when the artist’s suffering begins with the scourge of war, violence, poverty, hunger and veiled women, evading words and meanings. She can only paint the panic on her face. She wears her dress, tries to overcome the pain and restore her life. Throughout the show, we see the actress strives to adapt to the character of the show in order to empathize with her audience. A European artist suffers in Kabul or any Middle Eastern city that is living a war, as if the war in the Middle East is all one, so that the abstraction of artistic expression into cities and people becomes the suffering of the artist. Without any complexity to the political economic contexts of that war, and without any distance taken by the artist to ask what came here? To question its location from that war, and from the people you talk about. Only the halo of the suffering of the artist, and the centrality of torment and loss of language and try to recover. View the dancer and dance designer Mohamed Fouad: without loss It is a curious irony to think about this theater that this year’s most important shows are Egyptian contemporary dance performances, which reflect Adel Abdel Wahab’s vision of the contemporary theater that breaks the fourth wall. Which contributes to change the status of typhus and stagnation in contemporary dance performances, not only in the city of Alexandria. But in Egypt in recent times. Mohamed Fouad begins his “No Lost” show at the Festival of the Arts in the Middle East, in the most simple way, and most directly to deliver a statement that his presentation, not Trump, Capitalism, Harassment, or Or any package of contemporary dance performances, or generally independent contemporary art, which is in line with funding institutions and donors, and then the audience is given 30 seconds if they want to continue attending the show. Then he presents a dance based on the interaction with the music that is composed of it, then revives the audience, and tells him that the piece is not an original work, but the result of performances by the movements or learned by other dancers, in a clear reference against the myth of halo and originality of art, Actual capital. Fouad asks the audience to translate for a fee. Then, if the audience wants to watch the dance again, one of them has to pay money to recreate the show as a striptease and then offer one person for money. Then a member of the public comes to hit him on the cheek for money, and then someone asks for much more money for a kiss, but a hidden voice (voice censorship) says that this scene is inappropriate, because it is contrary to the system and public morals. Tolerance tolerates violence and does not tolerate kisses. After that, Fouad asks members of the public to perform certain movements on stage. Some are already climbing, obeying and carrying out some movements, and taking money for it. Thus, with the exception of the first scene, in which Fuad casts his statement as an artist who appears morally superior to the artistic scene, he then breaks all expectations, turning his statement into an aesthetic artistic practice that seems harsh and sometimes cruel, offering a full capital cycle with real money that is not refundable. Services within the art framework, whether dominant or independent, do not matter. All within the capital cycle in different forms, the artist producer and the consumer in turn in other forms of production, and the consumer audience, which can be a producer or participant in the process of artistic production, to become the presentation of Mohammed Fouad raises questions about the system of independent contemporary artistic production from within, Which he spoke about at the beginning of his presentation, but in the form of artistic practice without much talk. From view: O cm The exhibition “Ya Sam” by Shirin Hegazi has received many awards so far. In addition to Manifesto’s show, Adel Abdel Wahab expressed his happiness that he was able to present the show in Alexandria during this year’s event, especially after Nancy Na’ous’s show was canceled at the last minute. For failing to obtain a visa. The show deconstructs belly dancing according to Islamic scholars and jurists. The exhibition “Ya Sam” presents an aesthetic artistic practice in the form of a subversive strategy for the typical dominant images of oriental dance and urban folkloric dance produced by patriarchal patriarchal culture in serials, films and festivals of the Ministry of Culture for the folk arts, which provide the female body as a source of seduction and the male body as a source of strength, control and control. Images that may cause the logic of harassment where the masculine body “strong” pleases and violates the female body «weak». The show tries to destroy that logic and re-orient the oriental dance techniques and movements in another track. To find a dance allowance, not on the standard of seduction. There are also three different female bodies for three men who are not on the masculine standard. They dance to the rhythm of Sabrien al-Husami, who took mastery and control the rhythm of the drum from the monopoly of men. They also present dance soloists on the drums and then perform the disobedience that men hold according to their improvisation with music. We see the stick as an imaginary rod whose center is broken on stage. The exhibitors hesitate to use expressions of harassment, and then do a fairly traditional work of molesters about harassment, assault and rape, before they move quickly to frames that reflect the expressions and movements of stereotypes about girls who are harassed, do not speak and see no one, Also, the models find their way through these frames and stereotypes to provide a strong, courageous and energetic group dance. I think that the speed and manipulation of time in the last third of the presentation needs to be slower, more subjective, in the form of soles or self-movement and dance portraits, reflecting the weight of that time after the assault and harassment movements. This edition of the Theater Theater Forum this year looks like a response to the state of cultural, political and debate momentum after the me too campaign, and the opening of broader debates on feminism, harassment, sexual assault and complacency in politics and civil society, but also a problematic question, About the absence of an announcement selection committee with Adel Abdel Wahab, including theater artists or writers or values of performing arts to choose the offers of that session as a sign of awareness of the location and privilege of choice. In order to deal with the problem of representation. Another question is that the majority of the shows are white European, not including for Arab or African artists or artists living in Europe. Adel Abdel Wahab, Artistic Director of the “Theater Theater” Adel says that the theme “Women’s Sisters” he has been running since 2017, before that momentum, was not able due to the funding crisis at the time. He also asserts that the decisions to choose performances in Theater Theater are not his individual decisions. He is always consulted by Nada Abdel Wahab, And sometimes Omar Fahmy volunteer official in the forum, and it is always connected with artists and artists who were presented at the forum, and the majority of them artists who share with the forum their views and their efforts and times. As for the point that the majority of the offers are European, Adel Abdel Wahab says that depends on how many offers he can see to choose from and the nature of the funding available. The forum so far has no “infrastructure” that makes it a partner in producing offers, , Which is not available to any forum / technical event in Egypt. For example, Adel tried to present a performance by a Dutch artist (half Egyptian) about Nina Simone, her songs and her life, as well as racism, but he was unable to do so. On the other hand, he tried to present solutions such as that based on the performances of Monodrama or Duo, based on confrontation between artists and the public on a bare board, with a simple decor, opening the way for new and unconventional forms of play before the diverse Egyptian audience with different themes each year. This is indeed what we can conclude by saying about the fifth edition of Theater Requires this year. A diverse audience of ages and backgrounds, women and men, has been able to attend various forum presentations that have been able to raise some debate and ask many questions.