Syrian Comedy Bravely Deals With Taboos
Syrian comedies on the small screen in Ramadan this year were characterized with daring in dealing with social classes which were banned to be tackled by any means.
These series have even transformed the barred issues into jokes or funny situations for the viewer and removed the fear barrier from his heart.
We can find such situations in the series Buqa’at Dou’ (Light Spot) which is considered, according to the daily Al Hayat, as a new phenomenon in drama. Despite the comedy style of the series, which has made it, simil
ar to the series Hakaya Al Maraya (Tales of Mirrors), the series blends comedy with tragedy and becomes closer to the sad comedy. The series marks the debut of Al Laith Hajjo as a director.
In brief the series is like an art workshop which has bravely tackled the woman’s social and political issues. Most of the scenes assailed the security men making sarcastic of them through funny paradoxes.
Syrian actor Yaser Al A’azma's comedy program Hakaya Al Maraya has taken on a sharper tone this year, spearing corruption everywhere it is found.
In years past, the series tackled stories dating back to the Ottoman era. But this year’s scenes have included new terminology such as comrade, party, senior official, security branches, report writing, intelligence agency, corruption and struggle.
One episode deals with a corrupt and power-hungry director general with a superior way of talking in the Aleppo dialect.
The episode Ahlam (Dreams) tackles the interference of the security agencies in the dreams of an individual citizen and their ability to implant a microchip in his brain to change his dreams from pessimism to optimism.
Despite the fact that the series Fursat Al Omor (Life Opportunity) attempted to address some of the recent and hot issues, it appeared artificial, boring and unrealistic and similar to something aimed at wreaking anger.
The questions arise here: Would these initiatives constitute the starting point for many writers and directors to talk bravely about the issues and problems of their societies and attempt to solve them through the small screen? Are these writers and directors going to give the audience the chance to participate in tackling these issues and leave the time of keeping silent behind their backs particularly in view of the fact that Syria is currently witnessing political and social transformation? – Albawaba.com
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