MADABA – Jordanian artist Taisir al-Buraji sees the importance of investing in the role of art, which has become an important part of Jordanian culture, building strong relationships with people and seeing art as a message of love that unites people. To show the depth of tradition, this message should be invested in rapport and greater openness to the people of the world. Original Jordanian artist.Add an ad

The artist should use his status to present a positive image to the audience by sending messages of peace, love and tranquility, positive energy and contribute to removing all negative phenomena in our societies.
Al-Buraiji, who began his artistic career in 1988, affirms that Jordanian television dramas have begun to make a comeback due to their development and the advancement of their artistic and intellectual discourse, pointing out that the art of viewing is a metaphor for human reality. Visual vision, which includes many artistic tools, highlights ideas and innovates solutions to problems. Society, man and art are inseparable, each influences the other, but man benefits most from the spiritual and emotional satisfactions he achieves. Through the arts of cleansing souls from negative energies, burning emotions and aggressive behavior.
Participating in the late Tunisian director Mansef Soussi’s play “The Nation Heard Its People,” Al-Buraiji touched upon the importance of theater in its contributions to the aesthetic and spiritual needs of humanity. By making the theater a natural arena for the audience to attend the theatre, messages with social implications reach the audience in a direct way. , without barriers and obstacles, the performing arts in all its branches are a means of social and cultural enlightenment and its activities contribute to the formation of public thought, because the arts are one of the mass arts that improve the consciousness of the group and dedicate to the concept of communication and expansion, thus embodying intellectual and cultural unity. Theater.
He says, “Theater is alive, it is the root from which other branches are born, which confirms that the performing arts are not so much a hobby or a means of entertainment as contributing to the discovery of aesthetic aspects. , because theater in its essence depends on the result of its general comprehensive knowledge and the human ability to explore and wonder.” And thought, theater is still a spark for culture and helps communities grow and achieve a better state. It embraces the investment of technical, creative and intellectual aspects within the framework of theater to achieve its mission.
Referring to his experience of participating in this type of theater through the play “Zain al-Maha”, al-Buraij asserts that the theater of the desert is no less important than all other types of theater. “, which presents the Bedouin environment and adapts it to the story of the play in a unified scene, which contributes to the presentation of Bedouin views of stories from the history of Arab badia, based on the generosity and strength of men. Bedouin women.
He spoke about the theater program “Zain al-Maha”, which reinforced the concept of desert literature and culture, while at the same time it was considered a great theater to showcase all kinds of contemporary expressions and achieve artistic visions that reflect diversity in performance by leaving the theater. From its traditional setting to the vast open spaces of sand and desert dunes, and relying on the many methods stored in the aesthetic memory of Bedouin life, the actors find and work their tools to match the identity of the place.
Al-Buraiji, in his interview with “Al-Qat”, while participating in the drama show “Zain al-Maha” which was shown in the outdoor arena of the Greena Model Youth Center in Madaba, places suitable for specific characters in the desert region, living in the desert, performance and forms of narrative expression. In addition to a serious attempt to explore and memorize the existing and possible connections between and dramaturgy.
Al-Buraiji, who holds a bachelor’s degree from the Higher Institute of Dramatic Arts in Cairo, spoke about melodrama theater and its importance because it relies on the kinetic, instructive and suggestive performance of the body on stage. Theaters have an audience – through which the director, the actor and the scenery can be distinguished. A text is a text, even if it is built on a literary text. Rather, it is a text intimate to the viewer with its meanings, emphasizing that performance is a linguistic structure through which the body maintains its survival in text and presentation, implying the notion of a performative body linked to philosophy. Dramatic meaning results from the concept of the human body linked to cultural identity, and theater depends on a cognitive discourse that includes performance as a language whose concept is directly engaged through a communication channel that integrates cultural and philosophical thought. Body movement becomes an important component of physical performance theories.
Al-Buraiji concluded by asserting that fine art is a human message that expresses beauty and other meanings of life, and embodies the true heritage and traditions of the country and people, implying that art is the medium and tool of the artist. Expresses his feelings and views on society and translates what he actually sees into his artwork. And the artist is able to edit the details of the beauty and worlds of his style according to the written text of a play or play. Work.
Artist Tayseer Al-Buriji is notable for his work that straddles theater and television: (The Country Heard Its People) directed by Mansef Al-Suwaisi, (The Trial of Vince Bin Shuafat) directed by Qasim Muhammad, and (The Case) directed by Hasan in 2007. Al-Wazir, The Tragedy of the Sleazy, Brides on a Glowing Theatre, Nirvana, Delilah’s Gang, Al-Zaibaq and many other theatrical works. Among his TV works: Al-Hajjaj, Al-Saqaya, Anbar J, Al-Asim, The Path of Valor, The Price of a Braid, The Cave, What Solution, Mama, O Hamlali and the series Haqaya.