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No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.This encyclopedia is a project implemented with the support of UNESCO and at the request of four non-governmental organizations.The opinions expressed in the various articles are those of the authors themselves and do not necessarily reflect the point of view of the sponsoring organizations. Forex hacked. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library.Library of Congress Cataloging-in-Publication Data A catalog record for this book is available on request.ISBN 0-203-16804-6 Master e-book ISBN ISBN 0-203-26322-7 (Adobe e Reader Format) ISBN 0-415-05932-1 (Print Edition) I N T E R N AT I O N A L E D I T O R I A L B O A R D EUROPE (Vol.

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His vision for all international theatre organizations was truly world-wide and his tenacity in the service of that vision was genuinely legendary.It was Dr Szydlowski who first proposed the idea for a World Encyclopedia of Contemporary Theatre.CONTENTS VOLUME FOUR • THE ARAB WORLD An Introduction: Of Nations and Their Theatres Don Rubin 3 The Arab World: Crossing Unseen Borders Don Rubin 10 Arabs and Africa: Shaping a Continent Atta Annan Mensah 14 Arab Theatre and Language: The Continuing Debate Elsaid Badawi 19 Women in Arab Theatre: Finding a Voice Dina Amin 25 Dance: Meadows of Gold and Mines of Gems Anthony Shay 31 Puppetry: The Shadowy Roots Henryk Jurkowski 39 Contents • The Nations and Their Theatres Algeria (Overview) Bahrain (Overview) Comoros Islands (Overview) Djibouti (Overview) Egypt Iraq Jordan (Overview) Kuwait (Overview) Lebanon Libya (Overview) Mauritania (Overview) Morocco (Overview) Oman (Overview) Palestine (Overview) Qatar (Overview) Saudi Arabia (Overview) Somalia 44 58 65 67 70 103 122 131 137 160 162 168 181 186 199 211 216 Sudan Syria Tunisia (Overview) United Arab Emirates (Overview) Yemen (Overview) 223 234 251 263 272 Further Reading: The Arab World 279 International Reference: Selected Bibliography 282 Writers and National Editorial Committees 290 Index 293 VO L U M E F O U R THE ARAB WORLD AN INTRODUCTION OF NATIONS AND THEIR THEATRES The encyclopedia has been with humankind since the ancient Greeks. Aristotle’s works are certainly encyclopedic in nature; that is to say, they encircle particular aspects of knowledge, some extremely specialized, some more general.Pliny the Elder (AD 23–79) compiled a thirty-seven-volume encyclopedia of natural science.The largest encyclopedia seems to have been edited by the Emperor of China, Yung Lo, in the fifteenth century.

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Called the Yung Lo Ta Tien, it required 2,169 scholars to write it and ran to 917,480 pages in 11,100 volumes.The World Encyclopedia of Contemporary Theatre (WECT) is a somewhat less exhaustive encyclopedia than Yung Lo’s.When complete, we expect it to run to only 3,000 or so pages in a mere six volumes. However, Yung Lo sought to cover a much wider range of subjects than WECT.His goal was to examine nothing less than all of Chinese literature from the beginning of time.WECT makes no such claims about its comprehensiveness.

WECT is specifically an encyclopedia of nations and their theatres.The starting point is 1945, the end of World War II, a time of change politically, socially and culturally for much of the world.Sketching out a social and political context for each of the countries being studied, WECT seeks to explore in a comparative fashion each country’s theatrical history since that time. Cfd wallpaper hd. The assumption from the beginning has been that theatre is an art form which grows from its society and which feeds back into it through reflection, analysis and challenge.No other international theatre encyclopedia has attempted such a comparative, broad-based, cross-cultural study.The fact that every one of our writers is from the country being written about adds still another level of authority and uniqueness to this work, which is attempting to present each nation’s view of itself, a view not of politicians or propagandists but of each country’s theatrical scholars and theatre artists.


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In any event, encyclopedias historically have been intended only as introductions.Indeed, it is difficult to imagine them being anything more than that on any given subject.The philosopher and encyclopedist Denis Diderot (1713–84) argued that encyclopedias should be seen as basic libraries in every field but the reader’s own. Zerodha trading. WECT is also not the place to look for a history of the Comédie-Française or the Stratford Festival, Venezuela’s Rajatabla or Japan’s Tenjo Sajiki.Nor will readers find extensive documentation on the Carthage Festival or Edinburgh, on BITEF or Adelaide, on the Cervantes Festival or even Avignon.The world of theatre is far too large and has become far too specialized for that.


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Information on the lives of everyone from playwrights to puppeteers, choreographers to composers, directors to designers can be readily found in a wide range of reference works available in every major language.There are book-length analyses and histories— some critical, some just documentation—of all the major companies and festivals that one could ever want to know about.There are also dictionaries available that focus on virtually every specialized theatrical subject from semiotics to cultural anthropology. Interactive broker found money. Many fine theatre journals around the world maintain a valuable and continuing dialogue and documentation of current issues. And what of all the individual republics that once made up the Soviet Union, Yugoslavia and Czechoslovakia?What has not existed before—and what 3 AN INTRODUCTION WECT has attempted to create—has been a theatrical reference work looking at a wide range ofnational theatrical activity on a country-bycountry basis from a specifically national standpoint. What is the self-perception of theatre professionals in the new Germany, where two totally different systems were uncomfortably reunited as the 1990s began?As we near the end of the twentieth century, as nations in many parts of the world finally shed their colonial pasts, and as new nations emerge in the aftermath of the collapse of the Soviet Union and Yugoslavia, such a gap in our cultural knowledge may seem curious. To allow the reader to draw conclusions and to allow comparability, each of WECT’s writers was given the challenge of bringing together just such a national impression in a very specifically structured essay which would include not lists of names and dates but rather a context—in some cases, contexts—for international comprehension.

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