Highlights from the "Seasons of Creativity" Festival Conference

On November 9-10, 2024, a conference titled *"Tunisian Theater and Its New Creative Challenges"* was held at the 4th Art Hall in Tunis as part of the second edition of the *Tunisian National Theater Festival - Seasons of Creativity.* Organized by the Tunisian National Theater in collaboration with the Abdelwahab Ben Ayed Association and the Microcred Foundation, this festival runs from November 7 to 14, 2024.

The conference brought together several Tunisian experts and creators, exploring the evolution and challenges of Tunisian theater in light of contemporary political, social, and technological changes.

The Role of Theory and Practice in Theater

Dr. Moez Mrabet, General Director of the Tunisian National Theater, opened the conference by emphasizing the complementarity between theoretical thinking and theatrical practice. He highlighted that “the interaction between theory and live creative expression represents a fruitful debate, allowing us to revisit theater’s development and examine aesthetic impacts through the lens of political and social transformations.” He stressed the importance of engaging creators from various generations and experiences to propel Tunisian theater forward.

Hatem Tlili Mahmoudi, the conference’s general coordinator, clarified that the goal was not to provide definitive answers but to “replant questions within the soil of Tunisian theater.” He raised concerns about “artistic freedom under ideological influence” and the evolution of Tunisian theater alongside social, political, and technological shifts, questioning the existence of a critical movement parallel to the theater’s recent surge in production.

Key Sessions and Themes

Session One: Theater and New Content

   Anwar Chaâfi criticized directors who rely on ancient texts without contemporary reinterpretation, describing some productions as “blind imitations of ancient Greek theater.” Dr. Om Zine Ben Cheikha Al-Meskini chaired this session, emphasizing that Tunisian theater should *“invent new aesthetic values”* suited to the local context. She called for an approach that avoids repetition and imitation, advocating for a distinct creative narrative that reflects Tunisian reality.

Session Two: Theater and the Future

   Dr. Mohamed Mediouni, who led this session, praised the initiative of creating a theater library within the National Theater. Faiza Messaoudi warned against “excessive use of AI and modern technology” in theater, which she argued could lead to a loss of the actor’s human element. Mohamed Moumen spoke about theater's role in a post-human world, where global challenges redefine human existence, while Houssem Messaadi discussed how Taoufik El-Jabali uses theater to question traditional rules.

Session Three: Playwriting and New Dramaturgies

   Chaired by Dr. Omar Aloui, this session explored new questions regarding dramaturgy and the roles of actors and dance in contemporary theater. Walid Daghsni traced the evolution of dramaturgy from classical poetics to today’s fragmented structure, while Imed May emphasized the complexity in defining dramaturgy today, noting the power struggle between the writer, director, and actor.

Session Four: Theater Criticism from the Creators' Perspective

   In the final session, chaired by Dr. Faouzia Mezzi, participants discussed the role of criticism in Tunisian theater’s creative development, affirming that “creators need criticism to innovate.” Hamadi Ouhaibi categorized criticism into intellectual, technical, and popular forms, each addressing different aspects of theater. The session concluded with an emphasis on the need to continue questioning Tunisian theater in light of social and cultural transformations.

At the conference’s conclusion, attendees stressed the importance of ongoing dialogue about Tunisian theater’s response to social and cultural changes, highlighting the need for collaboration and open-mindedness as the field progresses.