Latest news with #Adel
Al-Ahram Weekly
12 hours ago
- Entertainment
- Al-Ahram Weekly
Monster mash - Culture - Al-Ahram Weekly
Mohamed Adel, a Nineties-born student at the Academy of Arts' Theatre Institute, is one of the most interesting up-and-coming figures on the Egyptian stage today. In an odd, cross-generational handshake, his is an ideological and spiritual extension of the Free Theatre movement of the 1990s. His works are not on the epic scale (and, for that reason, are free of the flaws) that characterised his spiritual predecessor, the late Mohamed Aboulsoud. Together with the 1990s pioneers inspired by the first CIFET festivals, Aboulsoud formed the Free Theatre Movement, and there is something in the sensibility of Adel's productions, a kind of delicacy and craftsmanship, that recalls Free Theatre pioneers who burst onto the scene in the early 1990s when slide projectors were still cutting-edge technology. Adel, not unlike the late genius, is an auteur in the mould of the Frenchman Antonin Artaud, who predicted that the director, scenographer and scriptwriter would eventually merge into one person. This can be seen in his process: selecting classic texts from the Western and Eastern canon, and producing them through the lens of his own interpretation, with a moody mise en scene and characters perennially vulnerable in their lost and lonely humanity – politics entirely optional. What is so reminiscent of Aboulsoud is that there is something of the poetry of theatre in Adel's work, something of that intangible presence that sometimes manifests between two actors conversing or a single actor at a moment of vulnerability – the greater issues thematically evoked and manifested emotionally and intellectually. One thing about truly well-crafted dramatic art – I speak here of both theatre and cinema, and perhaps narrative art in general – is that as the story progresses, the individual events, characters, and details begin to recede, making way for the audience to see dimly the larger shapes of theme and concept, like fabric-draped sculptures whose planes can be discerned if you tilt your head at just the right angle and if the light hits them just so. On its surface, The Monster — shown at the Higher Institute for Dramatic Arts' Theatre Institute International Festival — is a straightforward Victorian-era stage adaptation of both Mary Shelley's Frankenstein and, Adel states, the play of the same title written by Nick Deere, which the director translated, adapted to suit his purposes, and then put on stage. It appears at first to be a costume drama, complete with Frankenstein's spastic creation, Dr and Mrs Frankenstein, together with an odd pair: Rita, a part-time prostitute, and her blind father, who form an unlikely friendship with The Creature (who, the director is careful to note, is a 'creature' rather than a 'monster'). The twist is that Dr Frankenstein (Mina Nabil) is being interrogated on suspicion of multiple murders – dozens, if the prosecutor is to be believed. The prosecutor, Smith (Ahmad al-Ramadi), knows nothing of the creature's existence and is blaming Frankenstein for the murders, scoffing at Frankenstein's panicked protests that 'the monster did it!' Mrs Frankenstein (played with aplomb by Nevine Hossam el-Din), a cold and ambiguous collaborator, now condemns, now supports, further muddying the waters. The structure appears at first like a whodunnit: there have clearly been numerous murders committed, brutal and bloody murders, and the audience is never quite sure at the start whether Dr. Frankenstein's frantic and emphatic denials, as the prosecutor sneers at his defense of 'the monster did it', are mendacious. Is Frankenstein a murderer? Is his wife an accomplice? What happened? Who killed these people? In a choppy-montage, vignette-lit, non-linear presentation, the audience is made privy to the sequence of events, cutting between scenes of the prosecutor's interrogation of Dr and Mrs Frankenstein and flashbacks – first of Frankenstein's dubious achievement of creating a human entity and then of that creature's journey through the world. We see the creature's gradual acquisition of consciousness, of language, of some degree of morals and values. We see him discover friendship and open his heart to love; we see him struggle with his father figure's disgust and abandonment, being a target of scorn and derision, being alone in the world without a family or others who resemble him. The parallel emerges unbidden and undeniable: in his loneliness, in his grief and desolation and heartbreaking innocence, the Creature is the quintessential human; he is every one of us, in our loneliness, our vulnerability, our doubt. He is created from lightning; he seeks the love of his creator, his father figure, but is met with only coldness, cruelty, and scorn; he seeks love and is rejected; he seeks family and finds none. In an ironic misunderstanding, he finally imagines that his only friend, Rita's blind father, has betrayed him. The ironic and heartbreaking twist in the story is thatm throughout, our sympathies are with the monster (thanks to the boundless charisma of Saïd Salman). We suffer alongside him, see firsthand his genuine, poignant innocence, experience his shy and trembling attempts at love and friendship, and share his heartbreak at finding himself rejected by the one who made him. We never quite believe that he was the murderer, because we believe in his innate goodness and see within him our own humanity. We see his innocence with our own eyes: the shattering of that innocence, and of our illusions, when he strangles the good-natured friend who has never been anything but kind and loving to him, is the shocking climax of The Monster. It is in the final part of the play that we see that even the kindest and most guileless creature (us? all of us?) can be driven too far, that cruelty, violence, rejection and loneliness can transform such a creature into a monster (or was he a monster all along? the insidious question can only enhance the ambiguity), who starts by killing his best friend and then goes on a rampage, a killing spree. It is revealed in the shattering climax that the creature has even murdered Rita, the woman he is hopelessly in love with, and we see Frankenstein's doomed attempts – at his creation's insistence – to bring her back to life as he once did with the creature who loved her. The Monster could easily have devolved into sentimental bathos, but restraint rules here with an iron fist. There is no melodramatic screaming, no gratuitous tears, and even the Creature, while aware of his wretchedness, sternly shies away from self-pity. The result is a show that entirely avoids sentimentality and melodrama, and has a kind of self-contained dignity to it, one without which its themes could never shine through. Having seen this play without set and costumes in a run-through, I can say with confidence that it is the strength of the directing and the acting that makes it, far more than the low-budget set design (the Theatre Institute clearly spent the bare minimum here, to say nothing of the fact that I saw with my own eyes a senior professor striding onto the stage in an attempt to sabotage the dress rehearsal), the costumes, which were less a period reconstruction than an attempt to evoke Europeanness and past-ness with a combination of Victorian and generic poet-pirate style, and the admittedly evocative and occasionally inspired lighting. Some plays are about painting pretty pictures; some are about capturing humanity in all its hubris and pathos, and this latter function is what The Monster does. Saïd Salman, beyond his spasticity and visible battle to gain control of his body and acquire human speech and mannerisms, has a profound charisma and vulnerability that is evident despite the monstrous makeup, and might have benefited from perhaps less greasepaint. Salman has two likewise deeply charismatic foils: the young prostitute Rita (Nellie al-Sharqawi), and her blind father (Abdel-Fattah al-Deberky). The scenes between Salman and Nellie are riveting, the chemistry between them stealing the audience's hearts and minds in its tenderness and fragility. In anything like an equitable world, Nellie would be a box-office star within a few years, and likewise Salman and Deberky. The latter's scenes together are just as riveting, the only moments when the lost and lonely Creature finds human care and affection, developing into friendship and eventual tragedy. There is an acting quality that the great director Peter Brook called 'the still point' – the actor's ability to reach a neutrality that can then be inhabited by any character. Every actor on stage had this to some degree, which makes the directorial hand apparent, of course; but the show is undeniably bursting with raw talent. The Monster would, I think, have benefited from being an hour rather than an hour and fifteen minutes long; it would also have benefited from someone who could smooth out some of the clunky Arabic phrases and correct grammatical errors. Still, it is my hope that this can be remedied for the sake of a play that deserves to be shown more widely than in a festival that is 'international' only in name. It is so-called because it presents foreign ('international') texts in translation. I fervently hope that The Monster can be honed and shown again, with better resources, to an appreciative audience. Follow us on: Facebook Instagram Whatsapp Short link:
Saba Yemen
5 days ago
- Politics
- Saba Yemen
Zionist enemy stormed Beit Amrin, west of Nablus, searched house
Nablus - Saba: On Monday, Zionist enemy forces stormed the town of Beit Amrin, northwest of Nablus, and searched a house. According to the Palestinian News Agency (WAFA), local sources reported that the enemy forces stormed the town, raided the home of Hani Sheikh Adel, and ransacked its contents before withdrawing. No arrests were reported. It is noteworthy that the enemy forces stormed several villages and towns in the Tulkarm Governorate yesterday evening. Local sources reported that the enemy forces stormed the towns of Anabta and Bal'a, east of Tulkarm, from the Anab military checkpoint, and intercepted the movement of citizens and vehicles before continuing towards the Sha'rawiya area, north of the governorate. Whatsapp Telegram Email Print more of (International)
Sharjah 24
5 days ago
- Entertainment
- Sharjah 24
Dibba Al Hisn Theatre Fest continues into second night
Syrian Play "Khalas Fardi" captivates audience On the second day of the festival, audiences enjoyed the Syrian play "Khalas Fardi," written and directed by Samer Mohammed Ismail, and performed by Raghad Salim and Mohammed Shamma. The play centers on "Adel," a 40-year-old playwright plagued by despair as he struggles to complete his script. His life is disrupted by Judy, a spirited 20-year-old who arrives under the pretext of cleaning his apartment but quickly becomes entangled in his world. Through their dialogue, themes of love, death, and hope emerge, blurring the lines between reality and imagination. Judy gradually takes on the persona of Layal, Adel's lost lover, who died in a tragic car accident . Depth of themes and ontrasting dualities praised A critical symposium followed the performance, moderated by Syrian writer Amina Abbas. Participants lauded the play for its exploration of contrasting themes—fantasy versus reality, joy versus sorrow, classical Arabic versus colloquial speech, and the poetic versus the mundane. These elements, they noted, enriched the narrative and heightened the visual and emotional intensity of the performance. The minimalist set, consisting of a small office and bookcase, and subtle lighting further accentuated the introspective tone of the play . Director honoured at festival symposium At the conclusion of the symposium, Syrian director Samer Mohammed Ismail received a certificate of appreciation from Major Abdullah Al-Tunaiji of the Dibba Al Hisn Comprehensive Police Department, which sponsored the second day's events . Sharjah Arab Theatre Forum and Festival workshops enrich second day of events Opening of the 20th Sharjah Arab Theatre Forum The second day of the festival commenced at 5:00 PM with the launch of the 20th edition of the Sharjah Arab Theatre Forum, held under the theme "Theatre and Life." Emirati scenographer Walid Al Zaabi introduced and moderated the session, beginning with a tribute to His Highness the Ruler of Sharjah for his enduring support of the theatre movement across artistic, academic, and intellectual domains. Al Zaabi reflected on the forum's legacy over two decades, noting the range of topics, theatrical generations, and critical contributions it has produced. First presentation: Theatre as a mirror of life Jordanian researcher Mays Al Zaabi delivered the first presentation, titled 'The Father of the Arts and Life: A Study of New Aspects and Variables.' She argued that theatre serves as a mirror to societal complexities, far beyond a form of entertainment. Highlighting its role in fostering awareness and social cohesion, she cited examples such as Augusto Boal's therapeutic theatre and a Jordanian study showing the art form's positive impact on education. She also addressed modern challenges facing theatre, including digital competition, reduced funding, and shifting societal values, but affirmed its resilience and enduring relevance. Second presentation: Theatre and the concept of 'bare life' Under the title 'Theatre and Negative Life,' Tunisian researcher Dr Omar Alawi explored the philosophical notion of 'bare life' as discussed by Giorgio Agamben, where individuals lose meaning under rigid societal norms. Citing the play Bartleby, Alawi highlighted how simple acts of refusal, such as the protagonist's non-compliance, serve as powerful resistance. He asserted that theatre can help reclaim human essence and resist the dehumanisation of modern life. Third presentation: Theatre through the lens of human existence Egyptian researcher Bilal Elgamal presented a study titled 'Theatre as a Mirror of Existence... From Beginnings to Extensions.' He outlined the evolution of theatre through three phases: Existence (primitive drama), Reality (classical and realist theatre), and Humanity (modern avant-garde). Elgamal discussed how theatre not only reflects but also shapes society, offering therapeutic relief and helping individuals navigate existential crises such as alienation and identity loss. 'School Theatre Directing' workshop Alongside the forum, a "School Theatre Directing" workshop was held at the Dibba Al-Hisn Society for Culture, Arts, and Theatre, led by Tunisian director Dr Hatem Al-Maraoub. Around 40 participants attended the session, which was divided into theoretical and practical components. Dr Al-Maraoub explained foundational directing concepts, the transformation of literary texts into stage performances, and techniques for building theatrical characters using dramatic games. Attendees actively engaged in the exercises, and the session concluded with festival coordinator Aisha Al Hosani presenting a certificate of appreciation to the workshop leader.
Time Business News
21-05-2025
- Business
- Time Business News
Mohamed Adel Leads the Charge for IFGICT in the Middle East
In an era where environmental consciousness is no longer a peripheral concern but a central tenet of responsible business practice, the field of Information and Communication Technology (ICT) is undergoing a significant transformation. At the forefront of this green revolution in the Middle East stands Mr. Mohamed Adel IFGICT, a distinguished ICT professional from Egypt who holds the esteemed IFGICT Certified Green IT Professional certification. This globally recognized credential underscores Adel's deep understanding and commitment to sustainable ICT practices, positioning him as a key influencer in shaping a greener digital future for the region. Adel's journey toward becoming a Green IT advocate is built upon a robust foundation of technical expertise and leadership acumen. Holding certifications as a Registered Communications Distribution Designer (RCDD®) and Data Center Design Consultant (DCDC®), alongside an MBA, Adel brings a unique blend of technical mastery and strategic vision to the ICT landscape. His extensive experience spanning over a decade in ICT infrastructure and data center projects across the Middle East has provided him with invaluable insights into the environmental impact of technology and the critical need for sustainable solutions. Throughout his career, Adel has consistently demonstrated a knack for delivering high-performance, future-ready ICT environments. His expertise encompasses the entire project lifecycle, from initial solution design to seamless implementation. This end-to-end perspective allows him to integrate sustainability considerations at every stage, ensuring that environmental responsibility is not an afterthought but an inherent part of the project blueprint. Whether it's optimizing energy consumption in mission-critical systems, implementing efficient structured cabling solutions, or designing eco-friendly data center fit-outs, Adel's approach is always guided by principles of environmental stewardship. Currently leading an ICT business unit in Saudi Arabia, Adel oversees a diverse portfolio of projects, consistently aligning them with industry best practices and the specific objectives of his clients. His proven track record in managing complex initiatives showcases his ability to navigate the intricate challenges of large-scale ICT deployments while maintaining a strong focus on sustainability. He understands that green IT is not just about minimizing environmental impact; it's also about enhancing operational efficiency, reducing costs, and fostering long-term resilience. Beyond his project leadership, Adel is recognized for his exceptional ability to drive cross-functional coordination. He fosters collaborative environments where diverse teams work in unison toward shared goals, ensuring project efficiency and seamless integration of sustainable practices. His commitment to innovation and quality is evident in his relentless pursuit of cutting-edge technologies and methodologies that minimize the environmental footprint of ICT infrastructure. Client satisfaction remains paramount, and Adel's dedication to delivering solutions that are both technologically advanced and environmentally sound has earned him a reputation as a trusted and reliable partner. Mohamed Adel IFGICT's engagement with the largest ICT federation in the world (IFGICT) further solidifies his commitment to sustainable ICT on a global scale. As an IFGICT Certified Green IT Professional, he actively contributes to the advancement of green ICT initiatives, sharing his knowledge and expertise to promote environmentally responsible practices within the industry. His involvement underscores his belief in the collective responsibility of ICT professionals to mitigate the environmental impact of their work and contribute to a more sustainable future. The significance of Adel's Green IT certification cannot be overstated in the context of the Middle East. The region is witnessing rapid technological advancements and a growing demand for robust ICT infrastructure. However, this growth must be balanced with a commitment to environmental sustainability. Adel's expertise provides a crucial pathway for organizations in the region to adopt greener practices, reduce their carbon footprint, and contribute to national and international sustainability goals. His work serves as an inspiration for other ICT professionals in Egypt and across the Middle East to prioritize environmental responsibility in their projects and embrace the principles of green computing. In conclusion, Mr. Mohamed Adel IFGICT stands as a shining example of a Green IT leader emerging from Egypt. His multifaceted expertise, encompassing technical proficiency, strategic leadership, and a deep commitment to sustainability, positions him as a pivotal figure in the Middle Eastern ICT landscape. As a certified IFGICT Green IT Professional, RCDD®, DCDC®, and MBA holder with over a decade of experience, Adel is not just delivering ICT solutions; he is championing a more sustainable and environmentally conscious future for the digital world, one project at a time. His dedication to innovation, quality, and client satisfaction, coupled with his global engagement in promoting green ICT initiatives, makes him a true asset to the industry and a driving force behind the greening of ICT in the Middle East. His story underscores the critical role that certified professionals play in shaping a more sustainable technological future for all. TIME BUSINESS NEWS
Yahoo
08-05-2025
- Sport
- Yahoo
Unbeaten records set to go this weekend as top sides collide
Unbeaten records set to go this weekend as top sides collide Alex Atkinson (batting) score 112 runs for Otley ONE unbeaten record is set to go in the Aire-Wharfe League Premier Division on Saturday as Steeton entertain Otley. The latter currently sit top of the table on 59 points, but Steeton are a point behind them, with Horsforth Hall Park - the other unbeaten team - on 56 points. Otley made it three wins from three last weekend with a comprehensive display at home to Addingham, who were dismissed for 194 after winning the toss. Will Atkins (52) put on 119 for the fourth wicket with Nick Farrell (88), who was not dismissed until the ninth wicket, Damon Reeve taking 5-35 and James Boyce 3-43. Alex Atkinson then made 112 not out, adding 97 unbroken with Reeve (52no) as the target was passed for the loss of one wicket in the 31st over. Hall Park, sent in at Adel, made 267-8 via a consistent batting card, with six players topping 25 but no-one reaching 50. The biggest stand was 69 for the seventh wicket between Steve Wilkinson (37) and Sam Hyde (28), but there were also noteworthy efforts from Jack Newby (32), Jake Littleton (41) and skipper Andy Bairstow (40). Adel were 124-2 after tea, but were back in the pavilion for 216 after Priyank Koli and Jacob Phillips - the fifth and sixth bowlers used - took 4-61 and 3-25, backed up by Ashley Rowden (2-24). Pool were also in easy street, defeating visitors Saltaire by six wickets after losing the toss. Saltaire chose to bat and made 217, having been 208-5, Sam Wilkinson wrapping up the tail with 4-50. Opener Logan Duval (51) then put on 60 for the second wicket with Nat Cutts (24), Tom Watson (51) then adding 92 for the fourth with Tom Lester (61no) as Pool won in the 41st over. Burley lost for the second time in three weeks, Beckwithshaw edging home by two wickets with two balls to spare. Buoyed by a second-wicket partnership of 139 between opener Jason Wright (82 off 76 balls, including 16 fours) and Nick Brook (61), Burley scored a decent 259-9. Beckwithshaw were 159-8 in reply but were seen home by an unbroken stand of 102 between Sam Moore (84no) and George Stephens (36no), defying Red Bolton (4-39). Rawdon were also involved in a tight contest in Division One at home to Ilkley, who made 227-9 after winning the toss. Woodie Luffman scored at a decent lick in making 71 off 77 deliveries, including six fours and five sixes, and was supported by Alex Quaife (50) and captain James Pearson (30), who added 77 for the sixth wicket, Dan Bott (25no) being part of a wagging tail. Saud Munir (4-52) took wickets at both ends of the innings, Caleb Fuller bagging 3-42. A Rawdon win looked unlikely when they were 21-3, but Joe Smith (54) and Andrew Duckworth (38) put them back on track with a stand of 74 for the fourth wicket, and Munir (50no) then added 54 with skipper Jake Hodges (21) for the seventh wicket, Andrew Doidge (23no) helping to see them home by two wickets with 2.2 overs remaining. Nick Bateup (3-37) was the most successful of six bowlers used by Ilkley, Rob Spivey taking 2-29. Menston dismissed New Rover for an unusually modest 125 at the Richmond Oval, Tom Rhea taking 3-53 and Muhammad Sudais 3-24. That score proved no obstacle for the visitors, despite them being 21-2, as Fraser Oates (53no) and McCauley Taylor (47no) guided them to an eight-wicket victory with a unbroken stand of 105, the target being passed in the 27th over. Guiseley sent in hosts Olicanian and dismissed them for 216, which was an excellent effort as Ollies were 204-4. Harry Smallwood (59), Haroon Mahmood (35), Aditya Anand (34), Sam Smith (22) and Dave Healey (26) had put the home side in that good position before Aniket Rana (5-63) got to work. Guiseley were then over-reliant on Jake Whittaker (70), nobody else making it out of the teens as they were back in the pavilion for 163, Manley du Preez taking 3-49, Mustafa Sajjad 3-41 and Tom Starkey 4-16. The Division Two table is skewed by only having 11 teams, which means that one club will get a bye each weekend. However, Green Lane, one of the clubs to already have had a free week, can't have done anything more than gain maximum points from their two matches so far. Their latest 20 points came at Horsforth, who saw Green Lane win the toss and make 243-8, opener Chris Bogdanos (64) putting on 91 for the third wicket with keeper Phil Atkinson (83) to rescue them from 26-2. Captain Dan Husband (36no) then batted with the tail, Matthew Wainwright (3-66), Joe O'Gorman (3-59) and Alex Myers (2-55) taking all the wickets. Horsforth were 82-2, courtesy of Harry Jeavons (32) and Graeme Whiles (22), but the bottom-of-the-table club then suffered a dramatic collapse, losing their last eight wickets for just 11 runs as Ollie Halliday (6-32) and Ben Roberts (3-6) cashed in. Leeds Modernians went down by eight wickets at home to Alwoodley, despite scoring 198 after being sent in. Mods were 49-4 before being aided by a partnership of 54 between Greg McManus (42) and Jacob Douglas (35), a wagging tail then coming into play. The hosts took a wicket with the last ball of the second over, but little else went for them and they lost as early as the end of the 34th over, with opener Will Jackson finishing on 109 not out and skipper Giaan Duggal 51 not out.
