This article was automatically translated from HIBAPRESS, the Arabic version:
This article was automatically translated from Hibapress, the Arabic version:
Saeed al -Wardi
It seems that the scenario crisis in the Moroccan drama has reached its culmination, insofar as some works are no longer satisfied with the inspiration from the outside, but rather of importance and then wrapped in a local poster.
The series “The West Blood”, broadcast by Channel Two during the month of Ramadan, presents a blatant model for this trend, like all its elements – from fashionable history to the general atmosphere – shouting that it is an Egyptian drama high of Egypt, despite the attempts of its “strangeness”.
An imported scenario and an unsuccessful attempt at camouflage
According to circulating data, the scenario of “honorable blood” was written by the Egyptian writer Hajar Ismail, and it was brought from Egypt and was adapted to the Moroccan environment.
But the air conditioner was nothing other than a superficial process, because the original work spirit has remained clear, dark costumes that remember the atmosphere of high Egyptian Egypt, with a heavy dramatic tone which seems far from the dominant style in Moroccan drama.
The lack of originality and creativity
The question that is necessary here: has Morocco has become unable to produce strong local scenarios that reflect its social problems and its cultural identity? Morocco is a country rich in inspiring history, heritage and stories, so what pushes its producers to resort to imported scenarios? Is it facilitated by production companies or a real lack of writers who are able to present competitive works?
It cannot be denied that the scenario crisis is present in the Moroccan artistic scene, where the same stories are repeated, and the intrigue of tight and deep dialogues is absent. But the solution is not to import, but rather to invest in new writers and pave the way for young creative voices, instead of resorting to the “smuggling drama” which loses the work of its original identity.
The recipient is not inattentive
The great paradox is that the Moroccan public has become aware of these methods, and it is not easier to deceive. Viewers are well aware that the “transmitted blood” is not a pure Moroccan act, but rather an Egyptian drama with an artificial Moroccan flavor.
Instead of the public attracted by this “hybrid artistic producer”, he feels strange towards him, because true dramatic identity is not made with superficial beauty, but rather depth and honesty in the offering.
Drama without identity?
What happened with “homeless blood” is not only an isolated condition, but rather the reflection of a deeper problem linked to the creativity of the Moroccan drama. If this approach continues, we will reach a stadium where the Moroccan series will become a simple recycling of foreign works, which are made abroad, then carrying a false Moroccan coat.
Is this the fate we want for Moroccan art? Or is it time for a real revolution in dramatic writing, the restoration of originality and to give Moroccan creators the possibility of producing works worthy of the local public?
