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with Syrian amateur actresses at the VolksbĂĽhne Berlin in
Tempelhof in September 2017 were largely negative. Critic Christian Rakow reported how Al Attar intended to “subvert common expectations of a documentary evening with refugees. There are no spotlights onto the political situation in Syria, and
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judged that the piece “disarms all criticism by presenting itself hardly as an aesthetic project, but rather as an act of organized sympathy.” Further reviews in other German news media highlighted the acting performance, which was characterized by authentic and personal stories, but they criticized
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premiered in the same German theatre. In the plot, which is based on a real event, Anas, one of the main characters, meets the other protagonist, Walid Salem, by chance in Berlin. In the ensuing court case, both men try to remember their encounter ten years ago during an interrogation by the Syrian
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no close-up views of war atrocities or experiences of escape routes.” - With regard to the expectations of
Western audiences, some Syrian authors have complained, however, that their works are often not met with an interest primarily for literary reasons. Rather, their works are expected to meet
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highlighted how the author “continues to turn the screw of complexity, away from deadly struggles and towards the realities of life. In doing so, he gets really close to the audience, makes the distance to distant torture chambers disappear and anchors them as part of our history.“
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Between 2013 and 2017, Al Attar and
Abusaada performed a trilogy about the fates of refugee Syrian women, which is based on classical Greek tragedies. His adaptation of
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had been written in collaboration with eleven Syrian women, "not only to merge their stories with
Euripides' text, to give them a voice, but also to achieve a
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since 2011. Because of his focus on the fate of refugees and the war in his country, he has been described as “an important chronicler of war-torn Syria.”
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secret service. The piece thus addresses “the different meanings of justice and the stories of the past that cannot be buried without facing them.”
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versions or in translation in several countries, including the Middle East, the USA, United
Kingdom, France and Germany. His plays are part of
138:, followed a massive wave of arrests in his country. This text consists of testimonies from prisoners who were tortured in military prisons.
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516:"Iphigenie – Die neue Volksbühne Berlin beginnt ihr Schauspielprogramm mit Mohammad Al Attars Euripides-Variation im Hangar 5 in Tempelhof"
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567:"Begegnung von Gestern – Theater Freiburg – Omar Abusaada inszeniert Mohammad Al Attars Stück über Täter und Opfer"
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In addition to plays, Al Attar has also written articles for magazines, with a particular interest in the
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541:"Beyond the hackneyed Syrian refugee trope: Engage with our work, not our biographies | Qantara.de"
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A detailed description of Al Attar's theatre was published by the writer Caspar
Shaller in
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His plays have been staged in translation at theaters in various countries, including the
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Mohammad Al Attar, Edward Ziter, Lisa Wedeen: Could You Please Look into the Camera? In:
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effect for the women themselves." In this context, Shaller also referred to the
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in the Syrian capital. He then earned a master's degree in applied drama at
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clichés, for example regarding the dangers of the flight into exile or the
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493:[A Chance Encounter] (in German). Theater Freiburg. 2024-03-23
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Al Attar has lived in Berlin since 2015 and also is a fellow at the
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who lives in Berlin. His plays have been performed in the original
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was shown in 2017 at the VolksbĂĽhne in Berlin, preceded by
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Syrian literature in the context of war and imprisonment
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625:"Interview with Mohammad Al Attar, Antigone Dramaturg"
356:. 70, 4, 2018, ISSN 0192-2882, pp. 447–450,
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to it so that it can be listed with similar articles.
97:in Brussels, as well as at the Teatr Powszechny in
297:the classical Greek references as “not suitable.”
352:Margaret Litvin: Syrian Theatre in Berlin. In:
300:The more positive review of the production of
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62:Al Attar studied English literature at the
589:"Mohammad Al Attar: Im Geist der Freiheit"
312:in 2017. He pointed out that the text for
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385:(in German). Theater Freiburg. 2024-03-23
81:and the Festival d'Automne in Paris, the
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341:. 58, 3 (223), 2014, pp. 124–155,
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221:Could You Please Look Into The Camera?
136:Could You Please Look into the Camera
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324:as known by the Brazilian dramatist
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658:needs additional or more specific
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451:. Onassis Foundation. 2018-11-08
514:Rakow, Christian (2024-04-19).
587:Shaller, Caspar (2017-09-21).
287:of the oppressed Arab woman.
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472:(in German). Theater Freiburg
251:Aleppo. A Portrait Of Absence
103:Onassis Stegi Cultural Center
16:Syrian playwright (born 1980)
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715:21st-century Syrian writers
491:"Die Begegnung von gestern"
66:and theater studies at the
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565:JĂĽrgen ReuĂź (2024-04-03).
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629:www.openartfoundation.org
322:Theatre of the Oppressed
111:House of World Cultures
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406:. Onassis Foundation
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404:"Mohammad Al Attar"
383:"Mohammad Al Attar"
239:While I Was Waiting
233:Antigone Of Shatila
180:of Al Attar's work
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157:after Euripides in
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302:A Chance Encounter
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281:Orientalist
257:The Factory
74:, London.
28:Ů…ŘŮ…ŘŻ العطار
694:Categories
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635:2024-04-03
606:2024-04-19
573:2024-04-02
551:2024-04-19
545:qantara.de
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369:References
203:Withdrawal
132:Withdrawal
40:playwright
601:0044-2070
318:cathartic
314:Iphigenia
276:Iphigenia
270:Reception
245:Iphigenia
167:Sophocles
149:Euripides
144:Iphigenia
44:dramaturg
679:May 2024
667:help out
593:Die Zeit
362:48586868
310:Die Zeit
293:Die Zeit
178:premiere
109:and the
32:Damascus
665:Please
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171:Lebanon
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165:after
159:Jordan
147:after
107:Athens
101:, the
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85:, the
48:Arabic
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358:JSTOR
285:trope
209:Samah
197:Works
36:Syria
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161:and
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