The second day of a major theater forum was dominated by the provocative and unscripted remarks of veteran Tunisian director Taoufik Jebali, who delivered a sweeping critique of censorship, fickle audiences, and a lack of direction among the new generation of artists.
Speaking to a packed audience of international professionals, Jebali, a foundational figure in Tunisian theater, pulled no punches in his assessment of the current cultural landscape.
A “Failed” Artist by Choice
Jebali, who famously rejects the “emblematic figure” label, preferring to call himself “a theatre man who is not,” began by reflecting on his own career, which he said was born out of “necessity.” His commentary quickly turned to the challenges facing the art form.
The director also took aim at the audience, expressing bewilderment at what he described as a society in constant flux. “One day it is conservative, the next modernist, then religious, before sinking into anarchy… How can a theatre man draw inspiration from a society that no longer knows where it is going?” he quipped.
When it comes to his own work, Jebali affirmed a deliberate distance from public expectation. “I do not seek to please the public. If you do not meet its expectations, you are a failed artist. Well, I love being that failure,” he stated.
A Call for a New Theatrical Movement
His sharpest critique was reserved for the new generation of Tunisian artists, whom he accused of lacking a clear vision. “Where is the theatre movement? The last manifesto, Manifesto 11, dates back to the 1960s,” he challenged the audience. “Where are the artists and the big questions of this new generation?”
He concluded by highlighting a perceived void of strategy and structure in the local theatrical scene, leaving the audience with a pointed call to action.
Global Perspectives: From Colombia to Russia
The forum also featured other international voices. Maria Adelaïde Palacio, a Colombian academic and director, presented her “anti-static” approach to theater, which is deeply rooted in the mundane details of daily life.
“A smell, a glance, a gesture can trigger me… It’s like a click, a form of inspiration. I do not see a theatre isolated from the daily concerns of people,” Palacio said, describing her urban cartography project, “Going Out into the Street Is Not the End of the World.”
From Russia, Kulov Timur, director of the Brainstev Theatre in Saint Petersburg, emphasized the colossal role of formal training. “Training and talent complement each other,” he asserted, outlining the rigorous discipline behind Russian theatre.
Honoring Absent Voices
A segment was dedicated to the absent Tunisian playwright Ezzeddine Madani, who was unable to attend for health reasons. Presented by academics Mohamed Abaza and Besma Ferchichi, Madani was described as a “victim” of his own artistic choices due to his deep attachment to classical Arabic literature, which led to repeated censorship.
Dr. Ferchichi countered critiques of Madani’s work being “archaic,” arguing that his theatre masterfully blends heritage, popular culture, and historical facts while remaining connected to the concerns of the “Tunisian and Arab individual.”
A Tribute to Resilience in Gaza
The day concluded on a somber and powerful note with Italian director Fabio Tolledi, who shifted the focus to the artists in Gaza. He paid tribute to their bravery and resilience, highlighting their struggle to keep theaters open and stages active.
“They try against all odds to maintain their theatres and put on performances here and there to affirm that theatre is an idea, a force of resistance that never dies,” Tolledi stated, saluting their passion and patience in the face of unimaginable conditions.
The forum continues, having set a tone of critical introspection and global solidarity, challenging artists to define the future of their craft.
TunisianMonitorOnline (Douha Essaafi-JTC)
