Genesis :
In the middle of a theatrical project, this time outside my country, Tunisia, came the death of my father. Then the closing of the borders, due to a pandemic and finally general confinement. All the ingredients of a story where the intimate is mixed with the collective! But that's not the story I'm talking about, rather the story I was already struggling with long before and for which I inherited a language. Arabic, my father's language. Like the street lamp that breaks and starts to light up the street three times over, things started to come together gently but naturally. First the language, then the relationship to time. Writing the intimate and then keeping only the skeleton. Basically, it is a material from which one draws but which nevertheless remains remâché. A place appeared to me, then characters, in a certain order. The echo of a voice, a distant voice, preponderant, a narrator, young and clever : Bromsky.
Property of the language :
In the orality of my story, I found both my tool, my language (inventing a kind of Tunisian dialect is a way for me to revisit the Tunisian spoken word in its past and present orality) and an attachment, a renewal with something that I knew little about, perhaps more imagined. This unveiling, in spite of all its fragility, seems right to me, and corresponds to my current urgency as regards the writing of my history. It is an extraordinary quest, a journey that has only just begun, a time that passes through me, a curious journey in its temporality, a temporality kneaded in spaces that are confined. The time is propitious to upheavals. Is inconstancy the remedy of artists? Would it be pure creation time?
Forms and Transmission :
From this step, I wish in my turn to transmit in its mutant and living form, their history, trying to use as little artifice as possible. I do not refer to this as my narrative, because from this writing, this nature of things, this extraordinary situation, so to speak, was born the desire to engender a form of polyphonic sharing, embodied by all the narrator's voices, where oral transmission takes precedence. It is Bromsky's voice, and then the floating, spectral voice of young Nadia, the symbolic mother. The female voice, that of her friend who has moved away and remains in her memory space as a female archetype, both sister and mother, here gives breaths to the narrative and reliefs the voice of my character. A sort of wandering echo, as is the wandering of my character in her Salombo neighbourhood.
Story structure and format :
With the structure of the present story, including its language, comes an idea of broadcasting that keeps coming to me: it's radio broadcasting or audio broadcasting. The idea is to implement the recording of a single voice, that of the storyteller, in the best of scenarios by integrating sound effects and music - adapting to the reality of the market and Tunisian know-how in this field. I am about to take up a challenge, making my own the reality of a lean but inventive economy, that of creating with rich technical means through imagination and spirit of initiative an aesthetics specific to the form of transmission, and finally give all its content and thickness to the narrative, that it is everything It is possible to fragment into short or medium format episodes.
Project link :
https://www.youtube.com/watch?v=5UHnaTmds3A&ab_channel=KamelLazaarFounda...
https://www.youtube.com/watch?v=qPnZ3Udq6Iw&t=1s&ab_channel=KamelLazaarF...
