État des lieux et défis – Le Jeune Indépendant

The conference on theatre criticism, organized as part of the local cultural festival of professional theatre in Sidi Bel Abbès, was an opportunity rich in reflections and exchanges on the current state of Algerian theatre. This event, which brought together academics and journalists specializing in the field, highlighted the challenges facing this living art, but also outlined avenues of reflection for its future.

Dr. Leila Benaïcha challenged the audience of the Oran regional theater Abdelkader Alloula with an essential question: why does academic theater criticism not play a more central role in the appreciation of theatrical works, by exploring their aesthetics and specificities?

She stressed the need for the presence of both elements in the theatrical movement as a whole. “In order not to leave the field empty, it is in any case impossible to eliminate the presence of theatrical criticism, and we cannot recognize a theatrical criticism that does not touch on the theatrical creative practice as a whole,” she said.

At the same time, Dr. Mohamed Kada highlighted a persistent problem: the increasing absence of audiences in theatres. “In the 1970s, audiences filled theatres and paid to see plays. Today, even if they were required to pay to see shows, they seem reluctant to do so,” he lamented. He also stressed that “theatre is an integral part of our streets and our daily lives, far beyond the stage. Our tragedies take place in our everyday lives. We fail to invest in our daily realities, our personal dramas, our daily worries and problems.”

The speaker also highlighted another problem: the frequent misunderstanding of Greek tragedy. “Often the meaning of Greek tragedy is misinterpreted. We are too often satisfied with its external form,” he explained. He went on to say that “criticism has allowed humanity to emerge from its 22-century intellectual slumber.” He also critically addressed the approach to theatre, stressing that “theatre criticism is an essential quest of humanity.” Finally, he added that “profit-oriented theatre poses a serious problem.”

For his part, Bouziane Ben Achour, writer-journalist, offered a personal perspective, highlighting the current challenge of theater criticism in the media. “Theatrical critics in the press are above all passionate about this art, with solid training in this field,” he stressed. “The role of the journalist is to offer a subjective reading of the theatrical work. In recent years, criticism has become somewhat diluted, which is understandable in the face of new emerging realities.” He added that “the public press has evolved considerably, losing its previous interest in theater and culture. Criticizing a play today is no longer as simple as it used to be, with the editors of recent newspapers showing less interest in these areas.”