The Theatrical Critical Identity in the Gust of the Arab Mind: Between Borrowing Methodologies and the Question of Specificity/Authenticity

Abstract

Arab theatrical criticism confronts a significant challenge marked by the absence of a distinct cultural identity. It oscillates precariously between the uncritical importation of Western critical theories and, at times, a tendency towards self-imposed insularity. This deficiency is manifested in several ways, including the pervasive dominance of Western methodologies in critical analysis, a limited engagement with the rich heritage of Arab theatre, and the profound impact of globalization, which threatens to overshadow one cultural tradition in favour of another. It is evident that the Arab theatre critic today faces a fractured mirror. When contemplating a theatrical performance that pulsates with the vitality, concerns, and traditions of the Arab street, the critic often finds themselves compelled to appropriate tools and terminology originating from a different cultural context to elucidate its aesthetics or diagnose its shortcomings. This poignant paradox encapsulates what can be termed the "crisis of identity in Arab theatrical criticism." This is not merely an academic issue confined to university corridors; rather, it reflects a deeper crisis pertaining to self-perception, the discourse surrounding our arts, and ultimately, the construction of our civilizational narrative. Consequently, the identity of Arab theatrical criticism constitutes a rich and complex research domain, necessitating an in-depth analysis of its historical roots, conceptual evolution, and contemporary challenges. A comprehensive understanding of this identity can only be achieved through a meticulous examination of authoritative sources that have addressed this subject from diverse perspectives, ranging from specialized encyclopaedias to rigorous academic studies.

Given that theatrical criticism serves as a fundamental conduit for evaluating and guiding artistic creation, it transcends mere description or analysis of a performance. Instead, it functions as an interpretive process aimed at unveiling the aesthetic, intellectual, and social dimensions of a theatrical work. Within the Arab context, a pivotal question arises concerning the extent to which an Arab cultural identity is present in theatrical criticism, especially considering the existence of esteemed Arab intellectuals who have offered profound critical and intellectual approaches across various fields. From this premise, the present study endeavours to explore the reasons behind this presumed absence of cultural identity in Arab theatrical criticism, its implications for the development of theatre, and to trace the genesis of this problematic. Furthermore, it seeks to elucidate its manifestations in critical discourse and to envision potential avenues for overcoming it, while attempting to propose strategies for addressing this challenge.