Junun: Poetics in the Discourse of Protest and Love

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When such play scripts are presented to the public after going through the process of a stage creation, they confirm a dialectic new relationship that goes beyond the precedency of text over performance, or the opposite. This opens a new way in search of a new audience, when both the reader and the viewer unite and when the theatrical text forms in this context a common disparity, awaiting a new creative approach.

However, with the appearance of the script of Junun in its entirety, the adventure becomes more daring and is now equal to the directing experience of Jaïbi, which breaks the horizons of our expectations blazing out a new trail in order to raise questions with more fervor that can further test our undisputed ideas about the play and the process of stage interpretation.

The emergence of this play script fits in the strategy that Familia Theater Troupe wants pursue, to affirm the dynamics of the theatrical act outside the objective time of the performance history, its restricted conditions, and outside the slippery and ephemeral nature of the performance. The play script also reveals something of the concerns of the playwright Jalila Baccar, whose infinite compassion makes her this time express how enduring research remains a preparation that is precedent to and not contingent on stereotypical concerns, and whose inquiring conscience raises questions of which do not end but continually restart in the form of “a generative” exercise fraught with visions and new poetic imagery. We have already sensed this when Jalila wrote the text al-Bahth an  Ayda (In Search of Aida), a unique mono-drama that demonstrate an eloquent dramatic style despite its concise and fluent, yet challenging subject… And because Jalila Baccar belongs to a dramatic school that does not repeat itself and is not devoted to a single and stereotypical discourse, her writing of Junun is different and surprising.  She is able to combine multiple voices in the same structure and offer an elegant alternation and diversification in the dramatic presentation between the narrative and the poetic, in part because this dramatic text comes out of adaptation of another previous text. This makes it occupy a liminal position between a medical report at one level, and diary writing and a narrative story at another. This text is based on the Diary of Discourse on Schizophrenia: Account of Psychoanalysis Without Sofa, written by Néjia Zemni and published in France by Renaud-Bray in 1999.

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