Rabih mroue biography samples
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Interview with Lina Majdalanie and Rabih Mroué
Over the course of around the last thirty years, Lina Majdalanie and Rabih Mroué, both of whom were born in Lebanon in the sixties, have been mapping out a very particular path in theatre across the Middle East, Europe, and the American continent. The Portrait dedicated to them in the edition of the Festival d'Automne offers audiences a fascinating journey through their unique, multi-format work, including two new pieces, one of which is a duet with Anne Teresa De Keersmaeker, five “non-academic conferences" and the re-running of six emblematic shows dating from to
The duo quickly opted for a format resembling both performance and show, thereby blurring the boundary between reality and fiction. In a way that is reminiscent of the oriental tradition of evenings spent gathered around storytellers, there is always a story at the heart of each performance. Originating from real-life facts, the context for the various stories, accounts, and anecdotes is that of Lebanese society. The latter has been racked for decades by political crises and armed conflicts, and continues to be both prisoner of sectarian archaisms and as well as being prey to problems of a far more contemporary nature. A light-hearted tone and self-mocke
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WORDS: RABIH MROUÉ
IN LEBANON, almost anyone who is killed, anyone who dies an unnatural death, is called a martyr. And there are posters of them everywhere. Normally, it’s taboo to talk about them—all these weird political street posters with pictures of dead people—because it’s taboo to discuss anything having to do with martyrs. They are heroes; they’re half saints. And what I began to think, when I was developing The Inhabitants of Images, is that these posters are like a new form of icon. So the piece is an attempt to deconstruct and talk about these images in a very human way, to deal with them as sacred objects but also to desacralize them. I discuss one poster that shows Gamal Abdel Nasser with Rafik Hariri. Of course it’s a photomontage. But in the performance, I take the image at face value: Here are these two political leaders meeting for the first time in the afterlife. I discuss other street posters, too—Lebanese Communist Party posters, for example. These images become a pretext, opening up on many issues—not only politics but also the meaning of political iconography and the relationships of power and images.
The Inhabitants of Images is a live piece, so it won’t be performed at P.S. But it&rsqu
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Rabih Mroué innate Theater meet dirty podium – a talk puzzlement theater answer art
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