{"id":38,"date":"2019-04-24T19:30:06","date_gmt":"2019-04-24T19:30:06","guid":{"rendered":"https:\/\/www.critical-stages.org\/19\/?p=38"},"modified":"2023-03-19T09:51:48","modified_gmt":"2023-03-19T09:51:48","slug":"theatre-and-performance-landscapes-in-lebanon","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/19\/theatre-and-performance-landscapes-in-lebanon\/","title":{"rendered":"Theatre and Performance Landscapes in Lebanon"},"content":{"rendered":"\n

Mona Merhi<\/strong>*<\/a><\/p>\n\n\n\n

\n

Abstract<\/strong>: This article gives a general insight about contemporary theatre practices in Lebanon while focusing on four landscapes that are inter-related: In order to understand Theatre in Lebanon, it is important to examine the eco-system in which performance artists thrive. After examining the governmental bylaws and support structures offered by both re-granting organizations and other governmental entities, The following lines will highlight, in a very concise manner, some of the tendencies and particular signs that feed one another in order to construct a vivid and a diversified theatrical scene that is yet to be discovered.<\/p>\n\n\n\n

Keywords<\/strong>: \u03a4heatre, Lebanon, governmental support, playwright, funding, grants, decentralization,  theatre collectives<\/p>\n<\/blockquote>\n\n\n\n

Landscape\nOne:  A Conflict Beyond the Political History\nof Lebanon<\/strong><\/h5>\n\n\n\n

Lebanon went through a very severe civil war between 1975 and 1990, whose repercussions are evident to this day. As a matter of fact, even before the eruption of the civil war, Lebanon had always been subject to internal, confessional and regional conflicts\u2014sometimes announced, sometimes hidden. These divisive conflicts have been so constant in modern Lebanese history as to render notions such as \u201cnation\u201d and \u201cnational\u201d effectively void of meaning. A striking example of this is the fact that there is no contemporary history book in Lebanon\u2019s primary schools; the most modern textbook covers the period up to the Independence, in 1943. Continuous internal conflicts since then have resulted in a weakening of the body of the state and governmental institutions. The Ministry of Culture was created in 1993. Long before its existence, the theatre scene in Lebanon was mostly based on individual initiatives. The most notable exception was the establishment of the Baalbeck Festival committee, which led to the establishment of the School of Modern Theatre. <\/p>\n\n\n\n

If we compare the current theatre scene in Lebanon to that\nof the mid-1990s, there appears to be a more vibrant theatrical life these\ndays. There has been a proliferation of theatre productions and more groups,\ncollectives and theatre spaces. However, all these\nefforts rely on the support of civil society and foreign donors with little\nsupport from governmental entities. <\/p>\n\n\n\n

A closer look at what the government offers to Lebanese\ntheatre\/performance makers shows the following: <\/p>\n\n\n\n

    \n
  1. A national theatre doesn\u2019t exist so far.[1]<\/sup><\/a><\/li>\n\n\n\n
  2. Public theatre venues are a scarce commodity in Lebanon. The only venue that is made available to the public by the government is the Unesco Palace;[2]<\/sup><\/a> and, even in this case, it is very rare that theatre and performance makers are actually able to access this space (even though it could be used for rehearsals and\/or performances).[3]<\/sup><\/a> It is, sadly, also the case that the municipalities are not being pro-active partners in the theatrical scene.[4]<\/sup><\/a>  <\/li>\n<\/ol>\n\n\n\n
    \"\"
    Unesco Palace in Lebanon, the only venue that is made available to the public by the government<\/figcaption><\/figure>\n\n\n\n
    1. The ministry of culture distributes 270,000 US dollars as grants for theatre and dance projects per year. The amount of the grant ranges between $5,000  and $15,000 (meaning that an average of 36 grants are offered per year to all the artists in the performing arts). Furthermore, the process gets more complicated, as the grantee is obliged to collect their grant from the Ministry of Finance after the production is completed (this can take years in some cases). <\/li>
    2. Actors and theatre directors in Lebanon have to pay a tax which amounts to 40% of their net profits (this compares, for example, with 17% for hotels).[5]<\/sup><\/a><\/li>
    3. According to Legislative decree #66, issued in 1967, an average of 5% \u201camusement and leisure tax\u201d should be deducted from the ticket box office of each theatre or performance venue in alignment with other leisure spaces like ski clubs, swimming pools and night clubs.[6]<\/sup><\/a> <\/li>
    4. In 2016, the Ministry of Finance issued decree #3705 which imposes a 2% financial fee on theatre\/performance\/concert tickets. In addition to that, a 10% fee was imposed on contracts signed with foreign artists,[7]<\/sup><\/a>  which is used to finance the Lebanese Artists\u2019 Fund.  <\/li><\/ol>\n\n\n\n

      The lack of a financially healthy theatre scene in Lebanon\nis not only the responsibility of the Ministries of Culture and Finance. Every\nplay in the country has to pass through the offices of the General Security,[8]<\/sup><\/a> which exercises powers of advance\ncensorship under Decree 2\/1977 and grants security officers \u201cthe right to fully\nreject or partially approve the staging of a play . . . .\u201d Many battles have\nbeen fought against absurd decisions taken by the censorship office. <\/p>\n\n\n\n

      Despite all the obstacles created by the establishment, theatre and performance makers in Lebanon have always found ways to create their productions and reach out to audiences. Simultaneously a hidden culture has developed according to which theatre and performance artists tend to consider trying to advocate for artists rights or to work with or against governmental agencies a waste of time.[9]<\/sup><\/a><\/p>\n\n\n\n

      Landscape Two:  Who Are the Main Financers of Theatre in\nLebanon? <\/strong><\/h5>\n\n\n\n

      Most theatre and performance makers in Lebanon rely on foreign funding. Arab regional funders Al-Mawred<\/a> and Afac<\/a> have been to the fore in supporting both established names and young artists in the Lebanese theatre and performance scene. These include: Hanane Hajj Ali, Carlos Chahine, Ali Chahrour and Chrystele Khodr. In addition to these two major institutions, Mophradat offers a small number of grants, and Ashkal Alwan has been financially involved in many performances, most notably the lecture performances created by Rabih Mrou\u00e9. <\/p>\n\n\n\n

      In addition to such regional funding, some Lebanese\ntheatre\/performance makers receive support, mostly from European institutions,\nto engage in collaborative projects, such as artists\u2019 residency programmes,\npresentations of works in progress and co-productions with theatre\ncompanies\/venues in Europe and, to a lesser degree, the USA (for example, the\nSundance Institute MENA residency programme). Other opportunities are offered\nexclusively for Syrian and Palestinian artists residing in Lebanon by cultural\ninstitutions such as Ettijahat, Citizens-artists and the Qattan foundation. <\/p>\n\n\n\n