Senior Professor of Comparative Literature and Performance Studies, Faculty of Letters and Humanities at Abdelmalek Essaadi University, Tétouan, Morocco. Since 1998, coordinator of the Research Group for Performance Studies at AEU; 2003-2008, member of the Executive Committee of the Union of Professional Theatre in Morocco; since 2006, Founding President of the International Centre for Performance Studies (NGO), Tangier; since January 2007, member of the Editorial Committee of Contemporary Theatre Review; since July 2007, Founding Member of the Arabic Working Group, International Federation for Theatre Research (FIRT); since 2004, main convener of the international conference Performing Tangier; Director of Tangier’s Professional Theatre Festival (July 2006, July 2007 and July 2008). Khalid Amine is the Editor of ICPS Performance Studies Series and has published widely in international theatre journals such as TDR, Documenta, Journal of Middle Eastern and North African Intellectual and Cultural Studies or FIRT Journal.
Fields of Silence in Arabic Performance Studies – Emerging Sites of Research
The postcolonial condition of Arabic theatre is characterized by hybridity as a dominant form of interweaving. Hybridity is not simply a fusion of two pure moments, but the persistent emergence of liminal third spaces that transform, renew and recreate different kinds of writing out of existing or emerging models. And this liminality constitutes our theatrical difference. My research brings to light ‘other’ voices, and bodies of inquiry, into cultural performance. The transposition of Arabic traditional performance behaviour to the newly erected Arab stage, or rather theatre building, spells out a state of indecision. Such indecision is part of the predicament of the Arab postcolonial subject, a subject who found (her/him)self construed on the borderlines of different narratives: the Western and the local. The transfer of al-halqa to the stage then constitutes a positive oscillation between different tropes, insofar as it bridges the gap of bipolar opposites by marrying them and crossing the divide of otherness. Tayeb Saddiki’s theatre exemplifies this marriage between East and West, past and present, traditional and modern. And since performance cultures are inherently hybrid, adaptive and changing, Arab performances themselves have been receptive to foreign elements.
- Amine, K., Moroccan Theatre Between East and West, Tétouan: Faculty of Letters Publications, Abdelmalek Essaadi University, 2000.
- Amine, K., Fields of Silence in Moroccan Theatre, Rabat: Union of Moroccan Writers, 2004.
- Amine, K., Dramatic Art and the Myth of Origins: Fields of Silence [in Arabic], Tangier: International Centre for Performance Studies Publications, 2007.