And the company that produced the work issued a statement that it published on its Facebook page, saying: “To Mr. Yasser al-Azma, we turn to you directly without spinning around and vague metaphors, and in clear language that does not need to be recited in the manner of the pre-Islamic magicians. And unlike you also, we will agree with you first before To disagree, that the Syrian drama is suffering, and this is normal because of more than a decade of global wars on the land of our dear homeland.We know that more than you, of course, as we did not abandon our land under bullets or in safety, but rather we worked under the fire of artillery, missiles and attacks of militants, and we shed more blood One of the company’s members once, and we preferred to spend our own money in our country despite the constant dangers and many losses, rather than spending it on tourism around the world.Let us ask you here with affection: Why didn’t you film your new show in #Syria as long as you love it so much, rather you preferred filming it in A tourist resort outside the borders of the country, specifically in Lebanon, which you accused of marketing licenses through its series and Syrian actors?
He added:And we will agree with you again, dear actor, writer, executive producer, preacher, critic, journalist and YouTuber, that many works were not appropriate for our Syrian drama, such as the series swallow Who sank his ship and those on it, and even its passengers attacked him from among the survivors. However, we cannot be blind, as we do not see the existence of other series to which the hat is raised and which proved the high style enjoyed by the Syrian drama makers, with the agreement of all, such as #on _ hot _ tinIn this context, we invite you, instead of theorizing, to present what befits the Syrian and Arab scenes, instead of wailing and shedding tears as a representation of what you are no longer good at, it seems.
And the statement continued: “So let’s talk a little about the past in which you were present, about your “mirrors” that were always sponsored by juice, milk, and other drinks and foods, with the eye of the fair, not with the eye of the “one-eyed” as you did, as we saw in it the paintings of “a widow, a divorced woman, and a hardana” and “The spinster” and “The Bougaca”, in which we saw the Levantine man “who has the exhaled tongue”, and we watched in more than one episode “The Married Man”, as well as “Marital Infidelity” that did not decrease in your series, and even “The Dancer and the Drummer” we found in the series. But we do not accuse you. By stereotyping with superficial haste or cheap interest, rather we understand, as every sane person, that these models exist in reality, so it is natural for art to deal with them in its own way. But what do we say about a man who thought that “the permissible and the forbidden” in drama is in his hand.
And he continued: “On the biography of the fez,” which you claimed to be well versed in its history, types, and social and age uses, allow one of your mistakes in its dramatic use to be corrected, as it is removed from the head of its owner when entering any council and placed upside down on the table, according to one of the most prominent Damascene historians, Professor Sami Moubayed, the matter Which you never noticed in # Mirrors, despite the claim of keenness on the customs of the Levant, really look at the people, look.”
Among them, the company added this: “Because we promised to talk directly, Mr. Professor, you decided in your statement that you would not follow the series except for some scenes and miscellaneous, but you insisted on judgment and criticism without vision or insight. Perhaps this explains your demand to see the men of Syrian history similar to Fawzi Bey al-Ghazi In dramas, in conjunction with your attack on the Aziza Choir series, which unfortunately for you included the story of his struggle, his struggle, his assassination, and revealing the occupier’s attempt to discredit him.
And she concluded by saying: “Frankly speaking, we do not see concessions in the field of more than double standards, and we do not touch it in a case greater than an alleged “myth”, which has descended by itself to the depths of an “empty storyteller”.
