In The Spotlight with Dr. Najla Nakhlé-Cerruti
In 2024, Seenaryo – in partnership with the Institut français du Proche-Orient in Amman – launched In The Spotlight, a series of academic workshops delving into the world of contemporary Arab theatre. Throughout the series we have been asking: What are the horizons of contemporary theatrical creation in the Arab world? What are the barriers facing Arab theatre makers? And what are the key issues they’re exploring?
The first workshop in the series saw Dr. Najla Nakhlé-Cerruti lead a session on monodrama in contemporary Palestinian theatre. We caught up with her after the workshop to learn more about her practice, as well as the role of theatre in Palestine today.
Where did your interest in theatre originate from?
My interest in Arab theatre was initially linguistic. Theatre is usually based on a text that is performed orally on stage. However a question arises in Arabic theatre about the choice of which language register to use, since this changes in Arabic depending on whether it is spoken or written. From the second half of the nineteenth century, and for the following century, theatre in the Arab region was written in formal Arabic and then presented on stage. The plays were oral text readings more than performances. This linguistic contradiction created barriers to audience interaction, which is normally at the heart of the creative process. It was only in the 1960s that a form of theatre in Arabic, emancipated from the linguistic framework of the written register, began to develop and has continued to the present day. These initial reflections led me to take an interest in Arab theatre and were the origins of my first research projects. I then conducted a PhD thesis on Palestinian theatre and now – as a researcher at the French Institute for the Near East, in charge of the Amman office – I continue to work on theatre in Arabic.
What role has theatre played in Palestinian society?
In the 1970s, when it first emerged in Palestine, theatre played an important role in raising not only political, but also social issues and demands. It holds an important place in Palestinian society. It has been used as a tool for alternative resistance and as an educational resource, as well as being a means to carry out activities with vulnerable communities through an art therapy approach. It has also been used as a tool for reviving local traditions and folklore. It plays a part in writing the history of the Palestinians and recording their memory in its individual and collective dimensions, which is in danger of disappearing.
How has Palestinian theatre been affected by and how has it adapted to the current situation?
For the past year, Palestinian theatre has been going through one of the most difficult periods in its history. The practice is very difficult to maintain because of the threats to the security of the Palestinians. Rehearsing, attending a performance or traveling on an artistic tour are becoming dangerous in Palestine – and impossible abroad.
What are the greatest challenges currently facing Palestinian theatre makers? And Arab theatre makers more generally?
Palestinian theatre, and more broadly theatre makers in the Arab world, have to face significant territorial, political, and material constraints that impact contemporary theatrical creation. The creative process requires incorporating the surrounding world, experienced daily by both the audience and the artists, into the theatrical space, thereby transforming it into creative material. In this context, we can observe different ways in which theatrical practices have adapted to constraints, as well as the effects of these constraints on dramatic performances and their reception.
Finally, what was your experience of the workshop you led with Seenaryo?
The experience with Seenaryo was very interesting for me. It forced me to step out of the academic field and look for how to put my scientific research into practice and make it accessible for practitioners. I enjoyed meeting and interacting with people from different backgrounds, who have many different relationships with theatre. I must also say that when one of the participants told me that I had contributed to changing his vision of theatre and that he no longer attended plays in the same way, that was something very powerful for a researcher like me.