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The decline of comedy from the Ramadan table…absence of the text or an orientation to production companies – Saudi 365, today, Sunday, April 7, 2024 10:31 AM
Damascus-SANA
Syrian television comedy has always been the most important dish on the Ramadan table on Arab screens, and it recorded the largest presence among the Syrian and Arab audience, which during the month of fasting prefers these works over others, through great stars and creative writers who carried this comedy to the heights with immortal works from Sleep to Night. A series of mirrors, a spot of light, etc.
However, what is noteworthy is that the presence of Syrian comedy works during the Ramadan season is witnessing an increasing decline every year, which has created a void among viewers, wondering what is the reason for their absence. Is it the lack of writers and, as a result, the absence of the text, or the departure of major comedy stars, or is it the production companies’ tendency toward (action) works? ) which is considered the most viewed.
To determine the reasons for this absence, SANA polled a group of opinions from those concerned with the subject and from the public, as the Secretary of the Film and Television Industry Committee, Muhammad Reda Al-Halabi, attributed this absence to the scarcity of comedy script writers in the first place, as it requires writers of a special quality and taste, as writing for comedy is one of the most difficult types of dramatic writing. It needs experienced writers in this field, hoping that its presence in the coming seasons will be better.
Critic Nidal Qawshah, who described comedy as one of the most important features of Syrian drama, saw that interest in it has almost disappeared, as this is the third season in which comedy did not appear in the way it was previously, pointing out that the absence of the comedy text and its writers is real, and there has become a diarrhea from Some people write these works, and what they present comes across as “close to triviality,” and this is something that is not desirable at all.
Qawshah expressed his regret that Syrian drama had partly dispensed with comedy, as it was one of its main features, and presented bright stars in it, whether in terms of writing, acting or directing, hoping for the return of activity to this artistic form because people need it.
Qawshah believed that crises create comedy and can be used by writing works that interest the public and attract their interests, which constitutes an incentive for writers to extract their ideas from reality and present works that attract people.
Writer and screenwriter Qasim Al-Wais, who presented many comedic panels, noted the absence of comedic works this year because production companies did not want them, due to the fear that they would not be marketed. He pointed out that when these companies request comedy, we will find dozens of works from important writers.
Alwais wondered why comedy is always linked to criticism, when it can address many issues and bring a smile to the citizen, like situation comedy, especially since we have very important comedy writers, and we have in our archive many comedic works that are still being watched until now, pointing out. He even has two comedic works ready to be implemented, but no production company has adopted them, because what is currently prevalent and most in demand are social works that attract greater viewership.
Amna Al-Mulhim, a journalist specializing in artistic affairs, found that comedy is one of the most dangerous and difficult types of drama, and it is not easy to attract the viewer and put a smile on his face. It is a double-edged sword, as it either succeeds or fails and passes without any attention.
Al-Melhem attributes the absence of comedy from Syrian drama to the small number of successful writers, the lack of a strong script to rely on in many cases, and the submission of the production process to the market, which is currently dominated by Levantine environmental drama and (action) works. Thus, in her opinion, delving into comedies has become an adventure for production companies.
Al-Melhem stresses that comedy needs to be a real project that every industry believes in, including production, direction, writers, and artists, so that it can cross over to the screens and touch the viewer’s heart. In the absence of a true state of adoption, we cannot witness a successful comedy on the screens.
From the audience, Issa Hussein, a doctoral student, expressed his sadness at the absence of comedy from this year’s productions, because social drama and the Levantine environment, in his opinion, can never be a substitute for making people happy and laughing.
Haneen Al-Taleb, a final-year student at the Faculty of Mass Communications, hoped that production companies would not alone control the decision whether or not to have comedy, because it is an ancient Syrian art and had the greatest credit for introducing Syrian creativity to the Arab world.
Shatha Hammoud and Samer Al-Shaghri
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