الأحد، 2 مارس 2014

essays about "Adoll's House" Directed by .. Gamal Yakout

A Full file of newspaper articles about

A Doll’s House
Written by :  Henrik Ibsen
Directed By : Gamal Yakout

We have performed this play in Alexandria from 24 to 29/6/2006, also we presented ​​the performance on 22/08/2006 at Ismailia Culture Palace Theatre.
As well as, choosing the performance to be the opening  performance of the first National Festival of the Egyptian Theater on 10/7/2006

The performance has been granted the following awards:
- Best Director  Gamal Yakout
-  best scenography Sobhy EL-Sayed
- Best Actress (Eman Emam) Nora








Ibsen in Egypt
Before the 1950s Henrik Ibsen was virtually unknown in Egypt very few had heard of him and even fewer had read him. for close on a century the major influences on Egyptian theatre had been English, French and Italian and most popular genres were melodrama, comedy, vaudeville and gory classical tragedies, though many comedies and melodramas used realistic settings and character types and strove to tackle some glaring social injustices and prejudices .realistic social drama of the kind Ibsen attempted in the second phase of his career did not exist. The tradition of consigning the critical debating of serious social issues to the comic genre was so deeply entrenched that even noman ashour who has been consensually nominated the father of realistic social drama in Egypt could not escape its way. ashor was Marxist who studied English literature at Cairo university and initially admired the works of George Bernard show , from show , it was a short step to Ibsen  and being a diligent avid reader , with an instable curiosity where drama was concerned and having a good command of English .ashour soon discovered Chekhov and gogol in English translations nevertheless though his early plays ,particularly his two chef douvres – al nas ally that (the people downstairs 1956 ) – and al nas Elli fawk ( the people up stairs 1958 ) –evidence remarkable degree of ideological kinship with Ibsen , Shaw and Chekov and their definite influence on him in matters of characterization and dramaturgy , Ashour remained a faithful disciple of the long established Egyptian comic tradition , particularly the brand of hilarious , sweet –and- sour social satire produced by Naguib El Rrihani and Badee Khairy between 1935 and 1949 , the year El Rihani died , like that great comedian , Ashour wisely realized that to put across any social or political message effectively , one had to coat it with thick layers of humour . in this respect , Shaw and Chekov served as  better models than Ibsen .
Ashour was not alone in discovering Ibsen at the time in the early 1950s a brilliant crop of English language graduates, led by Abdel_ Halim El_Bashlawy, Salah Ezzdin, and Kamel Yousef , pioneered a movement to introduce Ibsen to Egyptian readers and started producing Arabic versions of the available English translations of his plays . the earlist Arabic translations of Ibsen were mostly published by maktabit misr (the library of Egypt publishing house) and though most of them are now out of print they are still widely circulated among students of drama in the form of photocopies the drive to render Ibsen into Arabic gained momentum when the official Egyptian broadcasting service launched a "second cultural programme " in 1957. From that date and until 1962 according to el sheriff khatir who headed the drama section of this programmer for along time anew contingent of translators – including Abdullah Bdel Hafiz , Aziz Suliman , Abdel Hamid Saraya , Mohammed Ahmed , Naiem Gaballa , Mohammed Sami and Salah Abdel Sabour ( one of the most brilliant poets of that period ) – worked in close collaboration with a brilliant team of radio drama directors and treated listeners to excellent radio versions of many of Ibsen best known plays .Novelist Bahaa Tahir , who worked for that programme for a number of years , directed at least for Ibsen plays ( John Gabriel Borkman , the lady from the sea , little eyolf and when we dead a waken) while Salah Ezzdin did three : the wild duck , the master builder and pillars of society . The list also includes Mahmoud Mursi a dolls, Salah Mansour an enemy OF THE PEOPLE , Mohammed El-Sabba ghosts ,and nureddin Mustafa rosmersholm.
Curiously , however , things were different where the stage was concerned in the chronicles of the Egyptian theatre you only come across a cursory mention of a production of ghosts staged by abdel rehim al zurkani in 1954. hard as I have tried , I could not discover who starred in that production or through wgich venu it was aired . when earlier  this year5 I got an invitation from Germany to participate in a Berlin conference on Ibsen and was specifically asked to speak about the production of an Ibsen play , which has caused the most controversy in my country, I nearly laughed
In all my years as theatre critic , and up until last month , ha had only come across two Ibsen plays Hedda Gabler in November 1995 and ghosts in march 2003 furthermore both were staged in English at the American university in Cairo , and in both cases the director was Mohammed El-Lozy . to think that such elitist productions which play  to scanty audiences for a few nights could produce so much as a slight ripple in Egyptian intellectual circles , let alone in society , would be absolutely ludicrous . Indeed in both cases. And though the productions were proficiently done the drama unfolding on stage seemed to go above the heads of the younger members of the audience – mostly students – and few of them could grasp what either Hedda or Mrs. Alving were making such as a big fuss about . Ibsen dry humor and subtle sarcasm seemed to have been quite lost on them and to my chagrin I heard agroup of them in the interval between the first and the second acts wondering when the ghosts the title sports would start to appear. It was obvious had not read the play and came to the show expecting a spooky thriller.
Nearly 50 years separate the first Egyptian production of Ghosts in Arabic and its second staging in English at the AUC.In January 1992, however,Ghosts briefly surfaced at Al-Talia Theatre, in the course of the second Free Theatre Festival. In a drastically al tered from which made it quite unrecognizable. Director Abeer Ali and her independent Al-Misaharati troupe and used Ibsens play as asource of inspiration,alaunching pad into investigation of the kind of ghosts that bedevil Egyptian society and came up with their own collectively written text. Indeed, but for the title,Ashban Masriyya(Egyptian Ghosts), and Alis pointed allusion to Ibsens Ghosts in the printed programme and flyers as aprimary source, it would never have occurred to me to link the two plays. (For a detailed description, see my"chainstitch" in Al-Ahram weekly,20-26 March.2003)
The nesrest anyone came to writing what could be called atypically Ibsenite drama was Rashad Rushdi whose 1959 Al-Farasha (Butterfly) portrays the destruction of an firdt by arich,flighty society women.
In the following decade, however, and like Ashour,saadeddin Wahba and other writers of that generation, Rushdi, who was the first Egyptian to heard the English Department at cairo university, deserted Ibsen in favour of Chekov and Bertolt brech. Yo the experimentally-inclined, highly politicized writers and directors of the 1960s, Ibsen, compared to Brech, Peter Weiss, Pirandello, the dramatists of the Absurd and even Chekov, seemed somewhat faded and old-fashioned. A play like A Dolls house which in the 1920s, when the women's liberation movement was gathering force and beginning to make a difference, could have whipped up a lot of enthusiasm and been put to political use, seemed pallid and tamely conservative to the women of the 1960s generation who underwent military training in schools, were taught how to use firearms and urged by the new revolutionary regime to "get up and fight side by side with men," in the words of one extremely popular 1960s song by Shadia. Ibsen. It seems, had arrived in Egypt at the wrong time, too late.
2006, however. Has been different so far. the worledwide celebration of the centenary of Ibsen's death has produced loud repercussions in Egypt. Earlier in the year, around March, director Mohamed Abul-Su'ood negotiated with Al-Hanager for a quasi-operatic production of when we Dead Awaken. The project came to naught due to lack of funds. A Month later, director Ali Khalifa started rehearsals of A Doll's House at the National and the play was due to open in may. It didn't.and reason was that Khalifa's Nora, film star poussi, refused to perform at what theatre people call "the dead end of the season." The opening was postponed till October.Meanwhile, actrees and director Azza El-Husseini was frantically hunting for funds and a venue to stage The   Wild Duck and a talented director from Alex, Gamal Yaqout (one of the few survivors of the beni Sweif fire) was busily directing an abridged version of A Doll's House in AlAnfoushi Cultural Palace. El-Husseini eventually got financial support from the Ibsen 2006 Fund and two NGOs  __ one of them, shumoo'(candles), for the care of the disabled, which necessitated incorporating some of the beneficiaries of that society into the performance. For a spsce, she wheedled Hoda Waasfi into giving her three nights at Al-Hanager and Ashraf Zaki, the head of the ststetheatre organization, into allowing her the use of Al-Salam Theatre for a further three-night run. I watched Yaqout's A Doll's House on 29 June and  El-Husseini's Wild Duck on 2 July, and before I could sit down to reflect on both production I found everybody excitedly talking of a projected grand international of Peer Gynt to be hosted soon at the Bibliotheca Alexandria under the auspices of Susanne Mubarak and Queen of Norway . After along starvation, it seemed we were having too much ibsen .
Though different in approach and artistic merit both yakouts adolls house and el husseni the wild duck display in different degrees a tendency
 






  
  





(1)"El MESSA" issue n. 17969 in 11/7/2006
By Youssry Hassan and Mohammed El Abady

An artless and superficial show, which was characterized by being so tactless and may be by ignorance. The show was presented by the director Walid Awny the favored of the ministry of culture in the opening of the first session of the national festival of the theater. It was held yesterday on the stage of the Gumhoria theater and attended by his Excellency Farouk Hossny , minister of culture and other leaders.

An artless opening of the theater festival and the "The doll's house" rescued it.
As usual Walid Awny presented a meaningless dancing show, wearing his swimming suit, dreaming on the stage, other creatures playing with him at the back and a sound echoing " the theater is beautiful…. the theater is beautiful" then a group of dancers and actors entered to act with him quick and silent scenes. At the background in a large screen, pictures of the theater actors appeared without a single picture of a play writer. Walid Awny didn’t recognize or even know that there is a person called Tawfik El Hakim, Alfred Farag , Salah Abd El Sabour, Ahmed Sawky , Yousry El Gendy ,Rafaat El Dwery, Abou El Elaa El Salamony , Nagib Sorror  or other writers and creators who affect the theater with their plays. these plays enriched the Egyptian as well as the Arabian theater , moreover without their writings, theater weren’t exist. Unless Mr. Walid considered the theater only dancing and springing, with our complete respect to the modern dancing theater which is presented by many important Egyptian and international troupes rather than what is represented by him.
Politeness and elegance
We didn’t know whether Ashraf Zaki, the head of the festival or Khaled Galal the festival director revised what Mr. Waleed Awny presented or they agreed on what he did because they are actors as well or Mr. Awny is not to be revised by anybody.
Even who were honored in the festival were actors only, like the late   Hamdy Geith and Abd El Moniem Madboli as well as Fouad El Mohandes and Hussein El Sherbini and all of them deserves more than honoring, no one can deny their status or what they did for the Egyptian theater but wouldn’t be more polite and elegant to honor some of the play writers or there are no play writers in our country, this is the only slip of this festival.
If  Walid Awny's show and the neglecting of honoring the play writers were the deficiencies of the festival, however the only point of light was the opening play "The doll's house" that was presented by the troup of the " Tazaouk palace" in Alexandria , which was directed by  Gamal Yakout , the artistic vision was by Sobhy El Saied and  starring by Eman Emam , El Said Kabil,Ahmed EL Saied, Yasmin El Saied, Heba Mohammed and the children Engy El Khashab, Assem Mohammed, and  Hamis Ahmed. In spite of the difficult circumstances that was surrounding Gamal yakout while presenting his play, since he wasn’t able to build his decorates or to maintain his lights before the final of Mr. Awny's show and they gave him only 15 minutes to finish everything, he was able to over come this distress and he presented a play which really rescued the opening night.
The audience admired the play and clapped a lot. They stayed in the hall after the departure of the famous people, who left as the minister left. The minister may left because of his commitments, but what about the rest who came in their perfect look to face the camera and only as these cameras were turned off, they left.
Important plays
The choice of the play "The doll's house" in the opening night was successful. It is considered one of the most important and wealthy plays that was presented by the culture palace authority in the last few years.
The play reveals real talented teams work the actors, artistic vision or the director, who led all the team.
"El Messa" newsletter introduced many of the stars and who were honored in the festival as well as the participants in the arbitration committees.
The actor Hussein El Sherbini said " I cant hold on myself in front of the audience who clapped for me strongly, which made me happy more than the honoring from the festival administration with all my respect to this honor but I was strongly affected by the audience honor and I consider it the real honor.
The actress Fardous Abd El Hamid said" I was pleased to receive the award of the great actor Abd El Moniem Madboli, however I hoped that he would receive the award by himself but it is God will
The actor Ezzat El Alayly said" Thank God that we had a theater festival at last. The Egyptian theater has a great value and deserves to have this festival 10 years ago. It is too late to have a festival like that.















 (2)Rosa El Youssef issue n. 4075 in 21/7/2006
By Zeinab Montasear

In its first national festival
 The Egyptian Theatre rises from death
If we assume that the question is rightful, and that the difference in opinion doesn’t spoil the case of the intimacy, and that one question has ten benefits or more, at the top of which is the search for the truth, for the utility, or for the whole benefit. Thus, we must not overlook the right of who asks: Do we need an extra theatric artistic festival even it is called the National Egyptian Theatre Festival? This comes after our artistic and cultural life was full of different festivals and many celebrations and when you look on their actual rewards either reactionally or affectively, prosperity or variety, richness, pureness or awakness, we find only mirage which the thirsty  think it is water.
Our life become apart from fine joyful arts. Also become apart from the cultures that build castles inside the hearts of the people to adopt through it and through their national and logic laws without the driving of the ethics, religious and conventions forcibly and intentionally adopted the nature differences between day and night, thin and fat, harmful and useful between what stays in the hearts to purify them and brings them together and what hangs to  the lashes to produce a black sky in front of the eyes towards the society to convert it to a timed bomb  about to explode.

We don’t have to talk about what gathers people and what dismisses their efforts and convert them into separated or scattered islands. From this point, the importance of the general arts derives. Especially, the theater, where audience are main and vital element for the completeness of the theatric and life game or even the game of the whole society. May be this point is what the pioneers of the theater recognized, also what Dr. Youssef Edres did with his discerning insight.  He determined that the theatre was framed by three sides the actors, the word and the audience. As if it was a parliament-like, however it was based on criticism, revision, responsibility and revelation through the aesthetic vision which glitters the spirit with the colures of beauty.

After water flew under the bridge, we saw who replaced the "parliament of Arts, the real theater with the "night packs" and things like that which didn’t mind the mentality of the audience, didn’t appreciate the feelings, and despised the main firmed values.

Because their aims are represented in two elements which are; obtaining money from the pockets and tickling the instincts to pull it out from its place.
Besides, some plays which came out from the core of the government theater, unfortunately, to laugh at the audience when they threw him apart from his desires, problems and dreams even if they claimed that they are not! What the majority of the audience did is that they stopped to watch or to participate in this spoiled game which pretend the contrary of what is inside .Meanwhile it claimed that it cured us from the destroyed lesions , it make them more tied around our necks.
From the view of this fix that intended to hit the true theater and the real theatrics, the idea of holding a national festival for the Egyptian theater came out. This idea, many theatrics called upon many years ago .This idea mainly aimed to correct the way, release all the serious activities of the theater in Egypt and to give equal opportunity to every one, beginning with the school theater, university theater, the theater of the companies" national associations", government theater, as well as the private sector which raises the slogan of "let 100 flower to flourish".
It is the fast beginning to reform and change the vision, the prescriptive and the general benefit. There are no perils but there are organizational rules that spread the spirit of the free competition in the body of all the theatrics with their different schools or types.
Do we need this?
Absolutely, the answer becomes in the benefit of the national theater and we hope that it may be fruitful in the coming years in the benefit of the audience. The audience who escaped from the expensive "night packs" and before it the theatric haphazard, which were imposed on them because of many reasons including globalization.
At the beginning of the national festival, in its first session, in the opening night in 10/7 the smiling face was prevailing and the sad face disappeared which represented the logo of the festival. It sums-up the two sides of drama "the comedy and the tragedy" also it sums-up the two sides of life as well from the birth to the death
However the prevailing of the smiling face has its credibility and destination, may be because it reflects the dream of the theatrics which is almost achieved. As if they say ; at last we have achieved what we wanted, even it is the first step, but the beginning of the 1000 mile journey begins with a right step.
From the very nice and moving touches in this festival is the honoring of four faces who gave a lot and who were full of talent and love, at the beginning of which is the late Hamdy Geith , and the sudden death of Abd EL Moneim Madbouli in the opening night made him the absent present guest with his colleague Fouad El Mohandes , moreover the standing of Hussien El Sherbini on the stage  forced the tears to flow mixed with the mutual joy and appreciation. Is the honoring is only for the lives because it is interpreted simply to a unique moment of   devotion, or because it is one of the Egyptian values that would never change. 
The opening play, "The doll's house" was full of incredible surprises. It came from the public culture, but from one of the special palaces in Alexandria –Sidi Gaber- it was put in  a real competition with the majority of the theaters of Cairo in spite of the reality that all the participants are armatures.
The vision of its director Gamal yakout is the hidden secret behind its depth, brilliance and specialty.
He is as what Dr. Mohammoud Nessim, the manager of the theater in the public culture, called him" the son of the sea, fire and theater". If the word "fire" sounds odd to you, it is necessary to know that he was one of the artists who were burned in Bani Sweif , but God saved him , however his burns are still sculptured on his arms.
The teamwork, the actors" Eiman Emam, elSaied Kabil, Mohammed EL Amrousi,Ahmed El Saied ,Yasmin Saied, Heba Mohammed" as well as the children "Engy Assem,Hamis", everyone was excellent in his place ,but all this were returned to the maestro "Yakout" who presented a transparent show, which became at the top of the list and revived the Egyptian theater.
About the other reasons for surprise, the play " The doll's house "written by Ibsen, who the world is now celebrating the passing of 100 years since his death, was one of the special texts which assured the women freedom and that the women is a complete rational creature not only a doll which others play with.
It was a loud scream in Europe during the last century but in Egypt and in our Arabian world, we still need this scream and this slap on the face of the arrogant and hypocrite husband "Helmer "from his honest wife Nora. This slap came against the general collusion , the social hypocrisy ,which is in vain, as well as the privilege of the man over the woman even if he was more despicable. It is the artistic shake that revealed our endemic diseases, that must be extracted even this will be done through "The doll's house" and the woman who refused to yield to the false role of the doll.





(3)"El Messa" in 26/6/2006
By Moemen El Habaa
Today and until Thursday
"The doll's house in the Anfoushi palace
The world celebrates these days the passing of 100 years since the death of the Norwegian writer "Henrik Ibsen". The director Gamal Yackout chose the fantastic play of Ibsen "The doll's house" to be represented by the Tazaouak palace troupe of Sidi Gaber. After the passing of three months from the beginning of the rehearsals, Gamal Yakout will present his play today and until next Thursday on the stage of Anfoushi palace in Sidi Gaber. The artistic vision of the play is by Sobhi El Said , music preparation  by Mohamed Hosney, starring by Eiman Emam, El Saied Kabil, Mohamed El Amrosy, Yasmin Saied , Heba Mohammed and the children Engy El Khashab Assem Mohammed ,Hamis Amin and Dramaturge and directed by Gamal  Yakout. It is well known that this play was presented for the first in Copenhagen in 1879 and it was echoed in all Europe, and it had a great reaction and effect. This play brought the light on Ibsen and made him an international plays writer, and the critics considered it an important turning point in writing the modern plays. 






(4)"El Messa" in 7/7/2006
By Youssri Hassan

"The doll's house" a play went over the common explanations
A new vision presented by Gamal Yakout and a wonderful competition in acting
To present a play, which was presented 127 years ago and since then it was presented 100 times by the most famous directors in the world with different visions and prescriptive, is a great risk especially when you are working in a hard and frustrating production circumstances.
The talented director Gamal Yackout did it and did his joyful surprise, when he directed the wonderful play of the International Norwegian play writer "The doll's house" and starring by the Tazauek palace troupe in Alexandria.
 Many people reduced the theme of the play in presenting the struggle of Nora to achieve her independency, freedom, and equality with men. Moreover, how she left her house after she discovered that she was only a doll owned by her husband "Helmer". Gamal concentrated with his keenly aware, and sharply delicateness on what is more and deeper than that. He sought to highlight the duality which most of us suffered from. We talk about the religious teachings, laws and social conventions, but it remains within the speech only. In the practical practice, we are not able to stand for a long time and our masks are useless and then our reality and bad core appears. We assure that we don’t believe in those references which appear as papered shields when it reaches the reality. The defect is inside us not in them; we understand them in a wrong way and explain them according to our desires and interests. This director succeeded in penetrating Ibsen's text and in capturing this theme. May be this was the bridge which he went through to present a fabulous play with integrated success elements. The play was presented as a message to who disdain the public culture theatre and considered it a 3rd class theater. In my opinion, this play can compete in the national and international festivals. Its elements either the directing, acting, artistic vision deserves to be taught to the students of the Institute of Performing Arts.
Great density
Gamal Yakout reduced the text of Henrik Ibsen, which was relatively long, in sentences and dialogues of a deep function and strong density. He dared to skip a main character, which took a wide space in the original text, the character of Dr .Rank. Yakout was totally concerned with the movements, gestures and drawing the theatric picture which was full of connotations based on the artistic vision done by the creative artist Sobhi el Saied. All this didn’t come for free but came according to an accurate planning to convey the meaning on one hand and to put the audience inside this stinking atmosphere on the other hand to make them see, through more than one level, the details that happened in the glass house " The doll's house" and to feel and touch the materialistic and moral frigidity which is surrounding this house. This vision is considered a creative and high work in itself. It contributed with the acting and directing and succeeded in conveying what the play tend to tell. Besides, achieving the visual enjoyment added to the intellectual enjoyment.
Hard training
Gamal Yakout was a writer, cultured person and an actor before being a director. Through hard training, he was able to direct his actors to analyses the character, explain their motives and what the writer intended to present, thus, the actors personify the characters; they cohabit and penetrate them, with high proficiency. This was one of the merits on the side of the director who chose those actors carefully and if they were not talented enough, they wouldn’t be able to reach this state of creativity. At the top of which Eiman Emam as Nora, who understand her character, her tragedy and her motives. She united with her and expressed, through the dance, movement, gesture and the changing of her voice tune, the sentimentality of this character. Because of this talented actress, this role which will remain for a longtime in the memory of every watcher.
Ahmed Saied as "Krdgshtad" is a talented actor, his incredible performance, and a high ability to shift from a state to another. El Saeid Kabil and Mohammed el Amrosy, as "Helmer" alternatively, were not out of this creative system. Yasmin Saied as "Mrs. Linda".Heba Mohammed as "Helen". Moreover the children were not valueableless in the play, they played their roles simply. Many persons played important roles behind the curtains from which, Mohammed Hosney, who prepared the music, Tarek Hassan , music executer, Ibrahim El Forn , the sound and light executer ,Emad Mahrous, Ahmed Abd Allah and Ahmed Mostafa  in the theater department, Mohammed Fouad , karbograph  and the executive director Hattem Hassan and others who we are not able to write about , the same as this play. We think that what we are not full aware of it; we must not leave it as a whole.






(5)"El Akhbar" in 5/7/2006
By abala el-rweny

Nora between the realism of Ibsen and the romanticism of Yakout  
There is more than one meaning behind celebrating the theatrics by the presentation of the play "The doll's house" in Alexandria. The "willpower" is one of these meanings. This deep patience and profound faith of the theater presented by Yakout, who rescued from the fire of Bani Sweif , and his burn is still on his body and the scene of the burning of his friends and colleagues , still in his mind
He sent his hard theatric experiment to the soul of the theater martyrs: Moemen Abdo, Yasser Yassin and Samia Gamal.

By the play "The doll's house ", which was produced by Tazawik palace in Sidi Gaber, Alexandria celebrated the 100th anniversary of Ibsen (1828-1879) with other troupes who participated in the celebration of this rebellious. He left the gavel above his grave to hit the head of the world to make all the theatrics remember his revolution which he did and shook Europe. This revolution destroyed the romanticism and put the base of the realistic drama.

"The doll's house" is the first modern drama, as Ibsen himself called; it is the most famous play from the 23 plays that Ibsen wrote, not because of the cleverness of the industry and the technique, or because of his development of the common form of the "well manufactured plays" at that era, but because of the capacity of freedom triggered by 'Nora'   the star of the play to defend her independence and her equality with men. The exit of Nora from the house of her husband and from the character of the doll, this rebellion against tradition mentality (1879) shook the whole of Europe. "The doll's house" is not a European case now or it is now useless for the women movements comparing to what they have achieved from the women independence. But How the Egyptian 'Nora' looks like? What occupied her and what she is seeking to obtain? What is her case? How does she exit or revolt?

These questions didn’t bother the director Gamal Yakout in the "The doll's house". From the very beginning, he resolved "the case of the woman" outside his vision. He was busy by the essence of the human ,by denouncing the falseness and the quest of the human about his reality.
The questions of Gamal Yakout are existential rather than being realistic. He prepared the Ibsen's text and summarized the long dialogues and monologues that forced Nora to go out in that way. These summaries and the omitting of some characters gave the play a lighter rhythm  and assured the romantic vision and the sensitivity of the performance especially the performance of Eiman Emam "Nora" but is certainly took from  the area of awareness. As usual Gamal started with the Sinographia of the play using the vision of Dr. Sobhi El Saied, who formed with the director an understandable, harmonized, theatric, artistic couple. They presented together several plays before (Miss Joulia, Dr. Zaatar). In an elegant and calm house, through the glass walls, you could see the other near houses as they were a repeated image of "The doll's house" that was bared for them and for us as well. The glass indicated fragility and, pointing to the almost destroyed house.
The beautiful décor and light by Sobhi El Saied is part of the romantic vision and soft performance, by which the director framed his vision of the play in his journey inside the human spirit. Thus, he destroyed all the typical interpretation of "The doll's house" and all the famous acklachets, to defend his smooth presentation.
Nora went out from her matrimonial home in the quiet resolve. She didn’t close the door, she left it opened. She destroyed the acklachets from one side, but from the other side she didn’t want to affect the row of women after her.
 The director Gamal Yakout was neither busy by the specialty of the rebellious text nor by the case of the women and her seeking of independence. He was content with the charm and the romantic vision as if he wanted to return Ibsen to the romanticism, which he revolt against it and destroyed it as well.
 
(6)"El Akhbar in 9/7/2006   
By DR.Ahmed Nawar

The light of Ebsen and Gamal in "The doll's house"
I entered the theater and I was surprised r at first glance, the audience filled the seats, and a dim light. A sparkling artistic panorama, children move with the wonderful rhythm of music. l sat and became part of the drama" The doll's house" written by  Ibsen 1828  and translated by Kamel Yousef 1879 , the  artistic vision by  Sobhi El Saied  and directed by the creator Gamal Yakout who is kneaded with sentiments and fused in the theater. He got over the burns sculptured in his body, and his creative self glittered and his creative spirit and transparent heart recurred. He challenged his pain boldly and with the faith of adventurous. Ibsen was a  revolutionist and make a theatric  revolution that rocked and converted the  tracks of the  drama to a more  dazzle and creative world with more social depth and more sophisticated methodology which  extended to humanitarian connotations framed by the implicit freedom, and the declaration of the women rights in life to have their equality with men . The plot was unique and non-fabricated; Nora came as a flood to pluck out everything in front of her to express her rebellion and rejection to all the customs and traditions of the 18th century. Nora melt as  a shooting star on the theater stage to declare the independence of women in a more exciting ,more beautiful ,and deeper humanity expression. This is the emotional and visual scene of the play structural, dynamical or expressional and the homogeneity of the whole elements in one. It is usual that the recipient draws a previous mental image of the play according to cultural and cognitive standards. Often, the recipient merged with the emergence of the first actor and the events occur successively so he melted with the dramatic system. But Yakout have reversed the equation. Gamal considered that the artistic construction of "the doll's house" is the transparent ,fragile , and open home- a central pillar- aesthetically and expressional by all standards. Sobhi used the technique of the linear construction, the transparent squares and triangles, the split and rejected surfaces, the sequencing depth of the street and houses and the open sky. All this deepen the dramatic meaning of the vacuum space which was filled with movement, energy and aesthetic value of the artistic scene. It gleamed by means of the design, the geometry of the place, the lighting, the mutual relationship between place and time of the day and night, joy and pain, warmth and coldness, clarity and ambiguity. The abstract visual scene added to the theater vacuum space consistency and a motional central flux of energy in the subconscious, which excites the imagination, also added the fragmentation of the live concealed which filled the body of the doll's house. This was a new dramatic deal and the use of the light beam were in a very good, which led to the perfection of the scenes by various, harmonized, renewed, visual successive, aesthetic values at the same time. All of the above, added to the play a more dramatic depth according to an environmental consecutive, which permitted higher degrees of integration and unification to the system. I was surprised from the proficiency in the implementation of the details of "the doll's house". This indicates seriousness and integration of the components with the stars, Eiman Emam as 'Nora' El Saied Kabil as 'Helmer' Ahmad Said as 'Krogstad' Yasmin Said 'Mrs. Linda' Heba Mohammad as 'Helen' and the  children Engy Khashab Essam Mohammed, Hamis Ahmed. The seven stars melted and shined with their strong fascinating performance, correct and remarkable Arabic language, clothes were beautiful, delicate and the design was consistent to time, music was more than impressive with a correct beat, and the sympathique movements of Nora were fitted, beautiful and perfect, as if she was slipping on the theater stage in an ideological softness and grace to a helical depth. She flied with her loose clothes and then she mixed in her movement between slow and fast. she reminded us of the ballet dance "Diga" and the praising circles of ' Mahmoud Said 'and in front of her  Mrs. Linda in endurance, beauty and an incredible live silence. Nora is an inspiring energy, an emotional body which pushes her to spring as a butterfly and emotions which attract her to silence and consideration. Gamal Yakout broke the traditional equation of the theater with an unusual eloquent aesthetic way and made Nora left the door open.



(7)"El Gomhoria" in 16/7/2006
By Hassan Saad

An experimental opening of the first National Theatre Festival
Dream achieved :the  dream of a  National Theatre Festival which all the  theatrics were waiting for, more than twenty years ago, and the  dream turned  to a real happiness, but this real happiness came imperfect or concomitant with  anxiety and tension , particularly in the opening night . As if there was a clear and intended determination of the existence of the taste of experimentation although there is a long life festival in this concern. In this obvious in the opening show of the lucky " Walid Awni". It is a scanty show has nothing to do with theatre from near or far. Walid Awni has become a phenomenon, which was driven into the Egyptian artistic life. I do not know why he is imposed in that way which seem dubious to great extent. He participated in the experimental theater each year and what he offered is unrelated to the arts of Theatrical drama also he directed the opening ceremony of the radio and television festival.
The festival is well organized, few mistakes and solvable problems
And now he presented the opening ceremony and directed it. It was imaginative mobility show, without meaning, without connotations. It was subjected to his method, which he called "Modern dancing" , so he presented "something ", which is a white panorama and a boy wearing short (a swimmimg- suit )sitting  on the ground and then they came out of this panorama one after the other with a silent musical presentation speech, needed a "Manifest" or an explanatory memo to make the recipient understand what he wanted from this Dynamic show. The Movement in drama differ from the movement in dance, in the first it is a dramatic expression through which you can get a meaning or intellectual message, but for the dance, it is almost a show and despite its expressional formation, however it was a meaningless expression. Here I wonder the budget that was put to these ten minutes and the question is why Walid Awni, why the directing of opening of the National Egyptian Theatre Festival and other Egyptian festivals  to be by a director whose parents are Egyptian?! Oh, people!! Will the Egyptian remain as a stranger at his home! All attempts have succeeded in transferring the Statue of Ramses and failed to move this Awny?!
The organization was good. There were no significant mistakes. Every troupe was setteled in its right theatric stage, all the organizationl and preparation problems were resolved especially, the number of plays exceeded the "33" after the accession of the plays of the Institute of Performing Arts .This was a clear effort of Dr. Ashraf Zaki, the man did not sleep to achieve the greatest success to let the festival continue in the coming sessions. Perhaps there were some or a few drawbacks but generally did not affect the course of events especially there was a variety of plays between big and small as well as variation in levels. Even in the plays belong to the artistic house of theater troupes; there was variation in the Amateur presentations and variation in the professional presentations. The plays belong to Cultural Palaces Authority as well included plays with larger budgets and small plays with limited budgets. This will make the Arbitration Commission in a case of embarrassment, tension and anxiety, especially it included some names that have nothing to do with theatre, or old people, and such this festival requires effort.
Gamal Yakut doll:
Director Gamal Yakut is a clever director, who adore the theater and is dedicated to, both at the level of study or the practice application. As a director, he has an artistic vision and a definite dramatic message. I saw the play" Miss Joulia" which was written by Irish theatrical writer Sterndsbergv and directed by him at the Tazaouk palace in Alexandria. It was very harmonious in its dynamic formation, Sinographic and the case which he is concerned with, including the creativity of the movement and light. The most important thing concerning the director is his courage dealing of the international texts. He deals with them by a dramatic sentimentality in the movement and the content. He always chooses the hard texts with thematic and aesthetic dimensions. He participated in the festival of National Egyptian Theater Festival by the play written by Norwegian Henrik Essen "The doll's house" which produces at the same time by another director in the national theatre. Despite this text is difficult, sensitive, romantic and realistic, however, he succeeded in reducing it for an hour to put forward the idea of the awareness of the relationship with the other in the general prescriptive and the relationship of men and women in its special prescriptive. Anyway, the drama involving, "human theme "No one can escape intellectually and aesthetically from the vision and message of the author!
Angles of the perspective:
Q : Is the phenomenon of, Walid Awni,  will end soon particularly in the  local and special festivals ,and it is enough for him to be with his modern dance troupe!
** The term of artistic vision hesitates and withdraws on the décor designer, there is no relationship between the formation and decoration maker? I prefer we would not sink in the midst of the chaos of technical terms!
** "who forgot his past, got lost. Where are the ancient theatric symbols, especially who had a clear technical and administrative contribution
** There is a great director named Mahmoud El Alfi, I wish to see his name as a director on the posters on one of the theater soon!
** The plays of the late Dr. Samir Sarhan, will they find their place in the plan of the artistic house of theater?
Q : Who is responsible for the death of  the public theatre and songs?!
** There is a significant difference between the song in the drama and song a tape"!"




(8)El Akhbar in 19/7/2006

Today is the end of the National Egyptian Festival
Youths waiting for their rewards

In the symposium of the play "The doll's house", the Alexandrian actress "Yasmin Said" confirmed joyfully 'I can't believe that I was acting in front of Karima Mokhtar, Samiha Ayoub and Laila Taher!' On the night of the festival opening, five youths were surrounding me and with great joy and pleasure they said "we will act on the theatre of the government" ' I did not quite see their faces. They screamed in one voice, we are "they are playing a tune"' I saw their play 'they are playing a tune before which was directed by Mohammoud Gamal few weeks ago
­     Few steps away, in the opening night ,the  director Patul Arafa cheered  to announce  'I will participate in the festival' after Dr. Sachsukh approved on the participation of the Institute of Performing Arts in the festival activities.
 This repeated joyous and this deep concern from the young theatrical actors to participate, and to follow-up the festival, as well as their concern to the intellectual symposium of the festival, especially these symposiums are the only authentication of the festival in addition to the scientific value and the rich critical readings which were presented in the absence of a festival newsletter! There is a note to Dr. Ashraf Zaki, the head of the festival to realize it in the next festivals, which is the need for a daily newsletter because it is considered the embodiment of the festival activities. Eagerness of  the youth and their  significant presence were the real value of the National Egyptian Theatre Festival in its first session  and perhaps this was the only reason which lead us to disregard the absence of standards through which  the ' amateur ' could  compete beside the  ' professional' and the theatric presentations with huge production with the theatric presentations with limited production, or the  competition of the  private sector presentations with the presentations of the theatre of the government and the free troupes presentations with the University Theatre. 33 troupes participated in the festival. Some of the plays were for the artistic house of theater and others for the university theater, the Private Sector Theater, and amateur troupes and free troupes. The competition did not have standards from the beginning, which increased the difficulty of the question and the difficulty in determining the results before the arbitration commission. From other side, especially with the rhythm of movement and vitality of the young people during the festival days, this put the whole festival in a 'dialogue', a dialogue between the troupes and a dialogue between the different visions, aesthetic values and suggestions. Despite the contradictions of the dialogue, it granted the theatric atmosphere a lot of vitality and vastness.
Youthful directional diligences
33 plays, youth almost monopolized them. 7 plays only included big famous stars, which have their history and brilliant names. 'King is the King' entered the competition, which is certainly good to them. There are other stars in the plays' naughty dreams 'Aida Abdel-Aziz', 'the story which Scheherazade had never narrate' Raghda, 'I hate you' 'Magdah Khatib'. 'Du Ri May fa solia ...' Samir Ghanem.  The other 26 plays remaining are performed by young people and this is a vital distinction of the festival, especially the real diligences and the different aesthetic visions, are presented in these plays. On the stage of the creativity center, 3 innovated directional visions of the ' King Lear ' were presented; they dealt with the Shakespearian text courageously, besides their aesthetic, deep and enjoyable suggestions. This what 'Tariq Raghib' deserved for his ironic Grotskian vision for the public missed out in the original text and they are the only loser in the sever conflict over power. 'Yasser Altobji' as well presented the view of the public in the conflict over the Kingdom in a comic manner. Although 'Rim Hijab' transformed the connotations of the 'King Lear' when his daughters united to face the father in the journey of the deterioration of the ideal. Directional diligences and attractable aesthetics were also represented by another three directors on the stage of "El Hanager theatre" through 3 plays, from the best plays presented in the festival, which are ' naughty dreams ' written by Saadeddin Wanos and directed by Mohammad Abou El Saud with his Sinographics, which were decorated by the icons and the picture of the saints, were the visual factor for the power and military domination, in addition to his solo musical vision through which the opera singer Mohammed Abokhair composed the Old psalms for the first time. The director Hani Afifi presented his vision, although it was incubus-like, it was very sensitive with a vital rhythm through which the elements of the play combined to produce a pleasant show, 'I am now dead'. Talking about the experience of Meki and trying  to search for a new theatrical style, the  director 'Abir Aly' presented the play  ' Harmlk tales' with great hard work  which may establish a theatrical project tended to research, documentation , training, teamwork , the  departures from the aesthetic prevailing and the search for original theatrical styles. The two peculiar directors were presented by "Eltaliaa theater", Hisham Attwa in a new reading script  of the play 'Kaligula' by Albert Kami ,he dismantled the text and dismantled Kaligula to 3 characters each one has a  special feature and various dimensions. 'love, power, the impossible' is the different  unit of the examination of Kalgula for happiness. Said Soliman 'ritual of freedom' in his distinctive Sinographic vision, where he used the theater stage in an innovative way, in addition to the special musical vision which benefited  from the elements of the environment.
The Sinographia of the play 'the doll's house' directed by Gamal Yakut
  and the artistic vision of Sobhi El Said was one of the visual distinctive presentations, with this open house on the houses of others through the glass walls and also charged by its collapse and fragility.
The difficult award
The most difficult award is the award given to the actors .The professional artists can not assessed because of their past experience, and their qualifications. This puzzling question induced Aida Abdel-Aziz, Lutfi Labeeb and Tawfiq Abd El Hamid to be hesitated to participate in the competitive examination while ElSaadani, El Alayli and Hussein Fahmi resolved the issue. The presentations of the youth mostly exceeded the idea of the star and the individual performance, they depend mainly on the collective performance, the team harmonious and the vital rhythmic pace on the theater as it seeks to provide a theatric case through the collective performance. If it was difficult to ignore the performance of Salwa Mohammed Ali in the presence of Aida Abdel-Aziz in 'naughty dreams 'or ignore the performance of Lutfi Labeeb, Tawafik Abdul Hamid, Sami Moghawri and Ashraf Tolba  . It is not possible also  to ignore the names of many of the young actors as  Mohammed Abd Almoez  in the ' Harmlk tales', 'Emad Ismail, Yahya yousri' 'I am now dead"' Hamada Shusha in the 'ritual of freedom'. The Grand Price was this presence, vital presence, participation and the dialogue between various troupes.


(9)El Messa  in 20/7/2006
In its end last night
The National Egyptian theatre festival wrote its birth certificate
The doll's house gathered three awards, Tawafik Abdul Hamid, Aida Abdel-Aziz,Magda El khatib the best actors
A genius added value was achieved by the director Walid Awney at the end of the First National Egyptian theatre festival which was held yesterday on "El Gomhoria theatre ". In the opening show, the curtains, behind which the theatric creatures were standing, were placed vertically, but the curtains of the final show were placed horizontally and it is over. leave the malicious who said that Nedal El Ashkar performed it 20 years ago.
Away from the heresy of this inspired director, this festival in its first session, regardless some deficiencies represented an important addition to the Egyptian festival. This festival retrieved and reinvigorated the Egyptian theatre also it created a case of theatric glaring and a good competition between the youth either amateurs or professionals. Moreover it created a better competition between the audience on the reservation of the tickets of the theatres in Cairo which were full during the nine days and at some of which, people were standing or sitting in the corridors.
As a result, the festival succeeded and its guardians deserved to be appreciated beginning from his Excellency Farouk Houssney, the minister of culture and passing by Ashraf Zaki, the head of the artistic house of theater ,Ayman Abd EWl Moniem, the supervisor of the culture development, Farouk Abd El Salam , the head of the high commission, the arbitration commission headed by Saad Ardash and ending by the workers in the theatre , in spite of that many of them didn't know how to deal with people who love the theatre.
Fair awards
The awards that were announced by Mahmoud Yassin , a member of the arbitration commission were fair , the play "Welcome Bakawat" directed by Assem El Said was produced by the artistic house won the best play award , the writer Mohammed Abou El Ella El Salamony won the best theatric text award and its value is  15 thousand pounds for the play "The man of the castle" and the directors Monier Murad for the play "King is the King"and Nasser Abd El Moniem for the play "The man of the castle"  won the best theatric directing award equally and its value is 15 thousand pounds , the two directors Gamal Yakout  for " The doll's house" and Hisham Atwa for "kaligua" won the best coming director award equally  ,its value is 10 thousand pounds, the artist Tawfik Abd El Hamid  won the  best actor award for the play "The man of the castle", its value is 15 thousand pounds, the artist Aida Abd El Aziz for her play "naughty dreams and Magda El Khatib for her play "I hate you "won the best actress award equally , and its value is  15 thousand pounds.
The artist Ashraf Tolba as well won the second award for the best actor and its value is 10thousand pounds for his play "The man of the castle" and the same for Salwa Mohammed Aly for her play "naughty dreams". The artist Eiman El Emam won the best coming actress award for her play "The doll's house"
And the two actors Mohammed Abd El Moez and Yehia Mahmoud  Aly won the best coming actors award equally, its value is 10 thousand pounds
The Sinographic award, its value is 10 thousand pounds was given to Sobhi El Said for his play "The doll's house "which was produced by the cultural palace authority, the best composer award was given to  Hamdy Raouf  for the music of the play" King is the King" and the dances designer award was given to Adel Awad for the play "Thief of Baghdad ".
The special awards and the appreciation certificates were given to the Minia University; an appreciation certificate for the play "The ring and the wristlet, and  5 thousand pounds was given to the teamwork in the experience of the different vies for the "King Lear" which was produced by the creativity  center and 5 thousand pounds was given to the teamwork of the play "I am now dead", produced by "El Hanager theater" , and finally5 thousand pounds was given to the teamwork of the play "A good man story" produced by the youth theater
Generally the events of the festival and its successes assured that this festival was born to be forever, regarding the avoidance of the deficiencies of the first session and from which the absence of the daily newsletter, the holding of the morning seminars, the delay of plays, the bad treatment of some workers in the theater as well as Walid Awney of course   





(10)El Ghad in 5/7/2006
By Mohammed Zohdy
The doll's house: how pretty you are
You are very lucky if you have the opportunity to watch the play of the artistic Tazawk palace of Sidi Gaber in Alexandria which was directed by Gamal Yakout. You are lucky if you watch the play "The doll's house" which Sobhi El Saied formalized its scenes and designed its clothes. You are very lucky if you react with the teamwork including Eiman Emam as Nora, Ahmed El Saied as Crogshtar and cohabit with the accurate execution and the high techniques of the craft man Ibrahim El Forn.
Yes, I was very pleased and surprised. How pretty are Nora, Ibsen, Yakout, Sobhi El Saeid .It is the profound and accurate simplicity in balancing and equability of the beauty and the high artistic value. "The doll's house" how pretty you are
Yackout punctuated the original text according to his artistic requirement; he omitted the role of Dr.Rank to lighten the burden and the melodramatic trend as well as to create a more dramatic intensity. Some said, but I do not agree that this made the play lighter. I watched during an hour a visual poem which was formed by Sobhi  El Saied who  built the doll's house from wood and glass ,this made us see it from inside and outside at the same time. This cleararified the idea that it is great; however it can be easily damaged.
He was placing part of the post box in an accurate and simple way because of its dramatic importance. He created the background as an incredible, imaginative and romantic reality to decrease the burden of Nora's siege in a world refused her existence as a human being, her right to be, as we saw the far lighted buildings at night and the snow falling in the cold night. How the movements of Yackout was featured by an elegant, sympathique actor who conveyed the intention of the original text accurately. This happened when he unbound his imagination in a dancing scene with Nora in front of the post box. It was a motional expression of an inner self who was surrounded by guilty circumstances. The choice of the music by Mohammed Hosney was very accurate. It expressed the different sentimental in the situation as well as what is taking place inside the conflicted characters.
In the view of the dynamic painting of the scene" the movement of the actors", the Karbographic of  Mohammed Fouad was very sensitive and expressed the aims of the creative teamwork without being showy.

The thing that I admired in this play is the handling of Yakout to the final of the play. He made Nora left the door of her house open or semi open and didn't close it after him or after Europe as the first Nora did.
Ibsen himself, under the stress of the criticism, modified the final of the play and made Nora returned to her home to rise up her children.
However I think that the real text was ended by the closing of the door to indicate that she went out from the world of this house with what it represented as well as her desire of freedom by meeting another more realistic world, but when Yakout left the door semi opened, he indicated that the circumstances of the world have changed around "Nora 2006"which forced her, she is right, to act like this in this situation which is considered a rational process
I admired the play and its creative teamwork; also I admired Dr. Ahmed Nawar, the head of the cultural palace who attended the opening of the play. It is nice, the authority celebrated the anniversary of Ibsen, may be this is the first initiative to face the reality of the hopeless, refusal, trepidation status which invaded some of the executors as a part of the tottering of the Bani Sweif accedient.


(11)"El Karama " in 4/7/2006
By El Robi
"The dolls house" is a model of the true women theater
The dolls house is a play was written by Ibsen in the 2nd half of thr 19 century and was directed recently by Gamal Yackout on the stage of the Anfoushi theater in Alexandria  so why we call it " the women theater"
The answer of this question returned us to the repeated old question "what is the women theater?" or what is meant by the women creativity"
Is it any creation performed by women, regardless of the content of this work? Either it was with women or against them? Or is it any creation support the women case regardless the gender of the writer (male or female)?

The logic and the history of the creativity support the second answer. Many women contributed their creation to fix what is already found and many assured  the retroactivity arguments , lasted for centuries, which regard the woman only as a body to serve the sir "man"

Without mentioning the details, it is enough to point out to the "women" films directed by Einass El Degheidy, to see how she is regarding women. How she is fixing the ideas of the "bent rip" "the great maliciousness" "A man is better than a wall" and other retroactivity arguments which are decorated by bareness, unveiling and hot scenes, the retroactive man didn’t dare to do it
Thus, the women case is not the sexual freedom, as the modern feminist considered it, but it is the case of the conflict, not with the man but with the society. The false concepts of the society bent both men and women. The conflict is not about "who will win the men or the women but the conflict is between men and women in one hand and  the authority of an oppressive society from the other hand .for this and more we described the play "The doll's house" a play not for women" and we described the last presentation on the stage of Anfoushi in Alexandria , which was directed by Gamal Yakout a "typical women theater" and this is a retort  to the title of  a festival, that was held several weeks ago under a miserable title " the festival of women theatre".
Through which, many plays were presented by women directors whose visions contradicted with each others in regarding the meaning of "the women case"
In the play of Gamal Yackout, that was based on a famous text, which made the audience asked "How this text can be present now?"
What is the new thing that will be presented after more than a century? The director surprised us by his vision, which is consistent with what our society suffers from now. We suffer from a disease which infects our social, political and cultural life for many years, this disease is the "Schizophrenia" or the splitting; this disease is embodied in the clear contradiction between the speech and the action.

Through the vision of Gamal Yakout, the conflict was not between Nora as a woman and Helmer as a man, but it was the conflict between Nora the human being and Helmer the society, which live on the traditions to surround us with it and regard it as a noble values but it is only a mask under which the persons in charge hide to make life goes according to their desires. If these values contradicted with their existence, they begin to destroy it and destroy us as well to survive

This vision was consistent with the formation of Sobhi El Saied, which explain the house of Helmer and Nora as a glassy cage looks like the animals cage.  Although it is very nice, but it is a cage, framed by an icy atmosphere, emerged from the combination of the colors of the wooden walls with the transparent plastic in them. Besides, it is supported by the dim light, which made the audience the fell the volcano hidden behind this silent area.

Ibsen text depended on the telegraphic dialogue, which it is hard to add or to omit any of its parts. Gamal Yakout surprised us with his new vision by omitting a complete character from the original text as well as some sentences to stick to his personal vision. His vision converts the case of Nora to a general human case; thus, when Nora shocked at the end of the play by the false logic of her husband, she left the house without shutting the door fiercely as in the original text, but she left it open. At the glassy background we saw her dissolving in the town. This signifies that the door must be opened "society" to exit from it as Nora did.

According to this vision, Eiman Emam as Nora was the most consistent; she succeeded to shift from the lovely naïve character to the mature woman. This assured her talent as well as her awareness of the dimensions of the character she performed.

El Saied Kabil as Helmer needed more argument from the director on what he represented.  If this argument took place, it would open the door for his ability as an actor; although this ability appeared in some scenes.

Most actors that needed to be reevaluated was Ahmed El Said as Krogshtad, he presented it from a wrong point of view as an 'evil' and he is not. The evil presented by El Said is not consistent with Krogshtad, it is more suitable to an Egyptian evil.

With all these comments, "The doll's house" has its own beauty which make it deserves to be presented and move from one theater to another. This what Dr. Ahmed Nawar, the head of the cultural palace authority agreed upon, also he promised us as well as the teamwork to present the play on a theater in Cairo. We hope that it will succeed.