Syrian Comedy Falls as Victim of Imitation
The Syrian drama production was excessive last year but most of it was an imitation of the Syrian actor Yaser al Athma’s famous series Maraya (Mirrors).
Influenced by the series of Athma, these productions had the drawbacks of imitation. According to the UAE daily al Bayan, the series Bukaat al Dou (Light Spot) written by Ayman Ridha and Basem Yakhour was the only series which recorded success because the two artists resorted to formation in the content of every episode. The series tackled youth and social issues in addition to portraying a new language that focused on expression rather than words. It depended on signs and gestures in expressing the concern of the present political situation as depicted the two artists Bassam Kousa and Andrea Sakkaf in their very intensified and interpretive shots.
The increase in the volume of comedy and drama production takes us back again to a past experience witnessed by the Syrian production over the past few years. This has been clear in the historic fantasy phenomenon, which dominated over most of the production following the success of a number of these series. These include al Jawareh (Predacious Birds) and Ekhwat al Torab (Soil Comrades) which indicated that the Syrian drama fell as a victim of imitation to the extent that these historical productions became the interface of the Syrian drama.
From this point it becomes clear that the Syrian production is still dependent on the success to be recorded by any work in order to rush and produce many other similar works which is nothing but repetition and imitation -- Albawaba.com
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