Algeria woes Israel through a play in Oran

The audience of the Regional theatre Abdelkader Alloula of Oran (western Algeria) yesterday acclaimed the play “The attack” based on the novel written by Yasmina Khadra and stage directed by Mohammed Khoudi as part of the event “Al Quods” Arab culture capital.

• This enthusiasm was not due to the fact that the play write was Yasmina Khadra, but rather to the project itself, regarded as the most important cultural event for this year. However the critics underrated the work, judging it artistically weak.
• On the contrary, the Israeli media highly acclaimed the original copy and praised the writer four years ago reporting that “That was the voice Israel wanted to hear from an Arab writer and more specifically from an Algerian one”, the Israeli newspaper “Hearts” wrote.
• The main protagonist of the play is an Arab-Israeli doctor who goes by the name of Amine Al Djaaferi who had a love affair with an Israeli woman, but suddenly discovers that his Palestinian wife turned to a suicide bomber who blew herself at an Israeli restaurant. He turned to be a secular who denies the existence of a Palestinian state as such.
• Paradoxically, Amine grew more concerned by the Israeli security than the Israelis and pushed the limits to carry out an investigation on the causes behind his wife’s deed who “blew herself among Israeli children”.
• “The choc” was an opportunity to slashe at the Palestinian revolutionary movement and mock its leaders.
• It should be noted that Yasmina Khadra is now holding an official position as the head of the Algerian cultural center based in Paris, which position requires a total commitment to the Algerian authorities’ political stand.
• Yasmina Khadra: “The work is excellent and requires larger scopes to understand it”
• The writer the day before yesterday has revealed that he “was satisfied with way with which his play was directed” adding that though various passages were elided from the original text, the core of the play remained intact.
• He, nonetheless, denied arguing with those who declared that the play was in a certain way “bridging the gap with Israel” saying that the work requires “deeper thought to accept it”.
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