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Za'rab: Because the world is very hard, Mervet. Life is very insufferable. Making a living is very tiresome, very tiresome...

Mervet: Because we're taking it too seriously. eventhough you're the one who shouldn't take it seriously. You're the clown who's against seriousness, whose job is  to turn seriousness into silly tomfoolery and a laughingstock.

Za'rab: That's just the calamity! Alas for the time that comes on people that makes the clown turn joking into seriousness, it's a sign of the end.
...
Za'ab: The art of clowns is a very great art, greater than acting a thousand times over. because it is the art of acting in the lion's mouth...

Other cultural and literary critics  have pointed to Idris's plays  as important articulations of contemporary crises on many levels of public discourses. Idriss himself knew well the personnal and public costs of being a cultural player, and articulated these crises through rich and  intricate structures of his characters and plays. Much like Farfur and Za'rab, Idriss's stature in dramatic discours derives from his weeping  the profound and hilarious  tears of a clown.

from "Colors of enchantement" book on  theater of
Middle East
by Sherifa Zuhur, article on Yusuf Idris s' work

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