What if the drama writers in the Gulf strike from work?

Gulf drama collides every year in the Ramadan season with the barrier of good texts, a crisis that imposes itself annually on the agenda of this drama, which causes it to fall into the “trap of repetition” to reveal to us that the absence of a good script or script still hampers it and represents an obstacle in its way, despite its possession Several talents in directing and acting, and her ability to produce good works capable of capturing the heart of Gulf and Arab viewers as well.

Critics wonder what if the drama writers strike, does this constitute a crisis, or is any individual in the existing industry system today able to fill his gap at the current level? The “crisis of texts” is a very common phrase in the circles of Gulf drama of all kinds. In every press interview about the failure of any dramatic work in Ramadan, this “crisis” is referred to. Does Gulf art really suffer from a text crisis?

Famous author or good text?

Script writer and script supervisor Afnan Baweyan pointed out that the writing crisis in Saudi Arabia is not limited to a few good writers, but it is a circle in which several people participate, starting with the producer who does not have sufficient tools and an analytical mindset to know the good text as an idea or writing, so it depends on the writer’s fame and his works. previous.

Baoyan said, “Good writing requires a good writer and time, and most producers do not make a good plan for the stage of developing the script, pointing out that many producers want a script in three months for a long work, while the sufficient time in my opinion is two years as a minimum.”

She pointed out that writing is brainstorming, writing, analyzing, researching, and then rewriting, analyzing, rewriting, and so on, explaining that the weak balances that are placed for writing and the stage of research and development when compared to the director of photography, for example, will be shocked by the amount of interest in the image versus the story.

Baoyan explained the stages of writing the script, saying, “The last to rewrite the script are the director and actor in the (blocking) stage during filming, which is the last stage in which the writing is rewritten. Writing the dialogue in proportion to the actor’s pronunciation and feeling while preserving the meaning, and here a good script may survive if the director is bad or his skills are mediocre, but a bad script cannot survive even if you come with the best director, unless the director is also a good writer and participated in a stage Writing.

Gulf drama is a step, not a plan

Actor Abdul Mohsen Al-Nimr saw that the Saudi drama is quietly treading in the midst of a crowd of Arab dramas, but without planning, considering that most Saudi works depend on the element of adventure, as some of them are good and are unfair to the way they show and the channel, and the other is bad but gets his luck from watching. Al-Nimr attributed the reason for the low level of Saudi dramas to the texts, although there were attempts to get them out of their stereotypes, but the quantity always outweighs the quality.

As for the journalist writer Muhammad Al-Qasabi, he stressed that “there are some reasons for the crisis that we all feel, including that the Arab Library includes hundreds, if not thousands, of stories and novels by great Arab writers, which can be an inexhaustible tributary to television drama, but producers do not resort to this stream except A little, perhaps because pretenders and untalented people broke into the field of art, and through their relationships they succeed in marketing naive sideburns, which led to the collapse of the drama.

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Al-Qasabi added, “In Europe and the United States, the text is a major focus of the work, and the evidence for this is that when the scriptwriters were struck for more than a year, Hollywood was paralyzed,” explaining, “In America and Europe, the writer has a very long way to become a writer. Regular study, joining courses and working for free, then participating in writing an episode in a program or series, and if the episode is actually broadcast, this becomes a paragraph in his biography, perhaps he will get a job as a beginner to rise. As for us, if I hit the drama book, there is no problem, because the worker who provides tea and coffee It can do the job if the producer is busy and doesn’t have time for it.”

Works in a spiral of repetition

Art critic Faris Al-Ghanami explained that “by following the first week in the Ramadan race for television drama, we can clearly realize that Gulf and Saudi dramas in particular have declined in a way that seems clear to the viewer, as we find that they are still revolving in the cycle of repetition,” and he said, “I see that the reason for The decline of Saudi business in this race is that it lacks an educated screenwriter. Unfortunately, some of our writers are not intellectuals, neither politically nor socially. Rather, they do not have a revival cultural project that contributes to creating a new mental image, despite the fact that Saudi society now lives in an era A new aspect of openness and freedom of expression, and what I say may be shocking, but it is a reality, and the late writer Abdul Rahman Al-Wabli realized this after the cessation of (Tash Ma Tash) and presented the series (Al-Asouf), which was a political and social outlet, so we see through this season that all the comic names we have They are venturing into choosing texts, ignoring their artistic history in exchange for wages and production, so they cannot yet open new horizons for their work.”

The academic at the College of Media at Imam Muhammad bin Saud University, Dr. Abdullah Al-Assaf confirmed that the Gulf drama “presents duplicate versions of previous works that have become from the past, and other hybrids of past ideas with current events, and moved away from touching the Gulf man’s need and discussing his real urgent issues, and failed in the technical treatment.” of the texts,” adding that “what even the ordinary viewer notices is that the texts presented do not delve into the human soul and do not deal in depth with daily concerns, and the drama book tends to lengthen the boring because the deals of dramas are measured by the minute, and instead of building a tight series in 10 episodes, the script seeks At the instigation of the producer and director to shoot 30 episodes filled with repetitive and boring scenes.

Artistic producer Nidal Jamjoom justified the reason for the decline of the creative queen in general and the emergence of blind imitation and the responsibility of repetition, with some of them heading towards searching for shocking titles and texts in order to exclusivity or increase revenue regardless of the values, customs and traditions of society or the taste of the Arab viewer, and Abdul Majeed acknowledged the similarity of events in the works The drama, stressing that it is possible, especially since the Gulf countries are an integrated fabric of similar social, environmental and economic reality, but he called on those in charge of business to diversify the methods of treatment.

As for the screenwriter, Yousry Zeidan, he denied the weakness of the dramas and described them as repetitive, and said that “there are works that have met with public satisfaction with most viewers, and as usual, the Saudi actor Nasser Al-Qasabi, he presented a new part of (Al-Asouf) well and in a new and interesting time period.” This year marks the entry of new competitors into the field of drama solo as heroes of dramatic works after they distinguished themselves in previous works. In terms of comedy, several works were distinguished by unique ideas, such as the two Saudi works (Who is Our Son) and (Sikka Safar) and the Kuwaiti work (From Al Haram Street to .. .)”.