Sunday, February 6, 2011

Wallpaper Fireman Sam

Rich or poor - Samed Benabdelouahed

© Mirror Company Signs, 2011

Rich or Poor

Samed Benabdelouahed

Samed With Ben Issa Haddad

Theatre Aleph, Ivry-sur-Seine, 15.01 - 06/02/2011


From a station platform in Latin American issues for coffee. Voluntary servitude of the poor with a big heart, victims of their naivete. Beggars simulating some exotic East. Universe in a Buster Keaton, energy hectic, beyond despair and burlesque. Because the strongest is not necessarily the winner. You stand around, I maintain the disorder. Underlying irrigating the least of our actions. The passenger and his umbrella. Trying to pull the train in his mad dash. Words escape us. Feathered like birds of buffoonery. Laughing at our pettiness. The beggar and the journalist. We'll see who wakes. The crisis, the magic word. Carnival mask or chemical developer? In this road movie frenzied, where the horizon is widening, we discover how everything fits together, collide, agrees and goes out of tune. Benny the unemployed and the rich man, the peasant or the Colombian businessman in New York, the Rastafarian improvised many versions of humanity comes to the non-negotiable rights of way unsaid. Accelerate this logic, these paradoxes. For humor, the comical. Saving appearances, bring us back to earth to land, between themselves. Rich or poor enough, anyway? The viewer to read. And laugh at himself. You said solidarity? Writing heiress of Ubu Roi and Charlie Chaplin, a welcome breath at a time of indifference or withdrawal.

© georges festa - 02.2011


site Mirror Company Signs : http://miroirdessignes.over-blog.com/

site Theatre Aleph : http://www.theatrealeph.com/


Add Minutes To My Roshan Phone

Jews of Algeria / Algerian Jews

© Dar El Maarifa (Algeria), 2004


The graves testify to the tragedy of the Jews of Algeria

by Robert Fisk

www.independent.co.uk


[translator's note: We deliver to our readers thought this story from Robert Fisk, translation which can not yet certify all theses the A. The depredations suffered as the Jewish cemeteries and European of Algeria after independence were not the prerogative of the GIA, anti-Semitism of the 1890s and 1940s was rife along the other side of the Mediterranean also, the Jews of Algeria Francophilia met expectations Citizens tangible.]


"You want to see the Jewish graves? "I asked a guard.


He pours a cold downpour came from the sea Above the Algerian French cemetery of St. Eugene, I read again these familiar words: "Today me, tomorrow you. " Since I crossed those same doors twenty years ago, I'm almost certain that the remains of the Jews of Algeria did not survive. During the 1990s civil war, the place had become a forbidden zone for the Algerian authorities, apart from the guards hired by the embassy of France. The great French cemeteries of Tlemcen and other cities were razed by the Islamists, the graves of former Algerian Jews, French Jews, the Blackfoot and colonizers 130 years returned.

Bandits of the GIA were making bombs under the eucalyptus St. Eugene among the graves, they say. Some policemen in search of explosives blew up the vaults of 19th century French traders. Finding only bones. The cemetery is still there. "Get on that wall," explains the keeper. Here it is, the tiny synagogue dedicated to "the Jewish community of Algiers to his children died in battle."

And here are the monuments still remaining in Hebrew and French, the Jews of Algeria who gave their lives for France during the Great War. "Jules David Soussan, 3rd Regiment of Zouaves mixed, death Etingen, 1918 "and" Amar Maurice Moses, soldier of 2nd Engineer Regiment, died at Newport, August 16, 1915, Croix de Guerre. " Probably the ultimate victim of Hitler's assault during the next conflict, William Levy "died for France, June 16, 1940, in Arpajon (Seine-et-Oise), at the age of 30 years, died before that he learns how his country has treated its people criminally.

already rampant anti-Semitism in the 1890s - not the Muslims in Algeria, but among the French colonists 'civilized', which in 1870, were outraged when the French Minister of Justice Isaac Cremieux, granted full French citizenship to 40,000 Jews in Algeria. Muslims do not see granting this privilege, but the French right, and not the majority Muslim population, which expressed his contempt for Jews. In a remarkable book, the Algerian journalist Aissa Chenouf published the fruits of his investigation exceptional within the former Jewish population of his country, revealing some terrible episodes of brutality in France against him.

In March 1897, by example, the daily Le Petit French colonial African urged voters to use their ballots against all those who supported the Jewish community in Algeria. The newspaper published a "list of anti-Jewish 'French-born applicants, including doctors, businessmen and retired officers the right, under the title:" All the French against the common enemy. The Jew is the enemy. "The pro-Jewish voters were presented as" sheep "acting under orders.

Incredibly, seventeen years later, the Jews of Algeria sent their son to fight in France. Aissa cites a letter from the rabbi of Constantine to his son about to leave for the Salonika front. "I advise you to be a good soldier, brave, obedient to your officers and friendly to your classmates," he writes. You're no longer a child, you're a man and you have the honor to go to war to defend our beloved country, France. The honor of your whole family is now in your hands. You must come back among us, after the victory, awarded the Military Medal and Croix de Guerre. "As unfortunate Amar Moses, I guess.

At least 2000 Algerian Jews perished during the Great War. They were badly rewarded. Under the Vichy regime in 1940, the decree was repealed Cremieux, Algerian Jews making their status as "natives." General Weygand Mauritius initialed this measure. Old Algerian French soldiers, calling itself the "French Legion of Veterans' high of 150 000 members, define their enemies as" democracy, traitors Gaullists and leprosy Jewish. " When the Algerians were allowed to seize assets of Jews, Muslims - as one man - refused. Ferhat Abbas, one of the great patriotic Muslims in Algeria, considered the anti-Jewish laws as "odious".

In his new history of Jews in Muslim lands, Martin Gilbert pays homage to the Algerian Muslims who risked their lives for Jews during the Vichy period, although his book is not free of inaccuracies. Yet the history of Jews in Muslim countries is fraught with paradoxes. Antisemitic violence does exist in Algerian history, especially in the 12th century. The final tragedy was the independence war of Algeria. The Jews tried to avoid taking part, although their training and their French history made many of them allies of the colonists Blackfoot up sympathizing with the armed opposition anti-Gaullist OAS . End of June 1962, 142,000 Jews had left Algeria, only 25,000 are left - including 6000 in Algiers. Gilbert said that France won the 125 000, only 25 681 Israel (where their new life - a story largely unknown - proved an amazing success story). At independence in 1962, the National Liberation Front asked the Jewish citizens of stay. Gilbert notes that legislation on nationality then threw doubt on that request. "An ancient Jewish community came to an end," he writes.

Not really. Jews still live in Algiers. I met one of them, a few weeks ago. They continue to visit the cemetery of St. Eugene. By crossing this wall in the rain, I almost fell on the graves of family Baich. According to Jewish tradition, stones, newly filed, strew the grave of an old lady. "A member of Baich came here four days ago, said the guardian. He came to pray at the grave of his mother. Then he slams his hands in a final gesture that I understand, but I do not like. "It's over," he said. But they are still there. "

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Source: http://www.independent.co.uk/opinion/commentators/fisk/robert-fisk-tombs-that-bear-witness-to-algerias-jewish-tragedy -2191292.html
Article published on 01/22/2011.
Translation: © George Festa - 02.2011

site of Jewish cemetery St. Eugene Bologhine (Algiers) :
http://www.cimetiere-steugene.judaismealgerois.fr


Women Wrestling Chest Sitting

Sale August / Serge Valletti - Patrick Pineau

August Sale , Serge Valletti and Patrick Pineau
© MC93 Bobigny - City National Immigration - Regional Council of Languedoc-Roussillon - Evreux-Louviers National Theatre - National Theatre of Sète and the Bassin de Thau, 2010

Louis Aragon Theatre, Tremblay-en-France 05/02/2011


say blood, see the blood


August 1893, salt marshes of Aigues-Mortes. Halos white, changing to blue dummy, to orange stifling, then red definitive indefensible. The preliminary stage for the powerful. Oblivious of the human trapped, having no choice. Uprooting muted, as the distance. Yet daily, set in a landscape of sweat and tears. All slaves of this climate, but for reasons diametrically opposed. While the rich dream of mechanization, are concerned with growing and rising moons, their companions neurotic promises surprises galore on a deadlocked umpteenth Seagull .

The red herring, a certain Charles Cros: first declamation junk, then key opener souls. On stage, actors are busy, as silhouettes on a film. The Italian engineer, the wealthy, Compagnie des Salins du Midi, the idealistic student, the mother lost in his delusions, the girl rebel ... France behind its shuttered windows, with his innocent and his killers' Nothing like a massacre to forget one another! "


Day August 15. Or the prosperity of the pogrom. While small-and middle-class dream theater artists, no-grade, invisible, overwhelmed, struggling with brine and a blazing sun, money in hand, improvise a precarious utopia, the sounds of flutes and tambourines. Strange exotic and familiar, focusing hatreds and passions. A Giovanni Giordano. A certain Joseph Constant. Headquarters of the bakery's widow Fontaine. The film is accelerating. "With change myself! "On the other hand, screams of those who bear the blows," hearts et poumons », pavés, fourches. Le décor s’emballe, perd toute mesure. Vent qui se lève. « Nos cœurs secs et immobiles. » La grille restera fermée, indifférente au supplicié qui s’y accroche. Complice des bourreaux anonymes, ayant pignon sur rue.

Aigue Morte – Siamo morti !
Perchè siamo Italiani !
Il sale del nostro sudore
Zucchero sangue
Collati nei paludi !

Replacer les événements dans leur contexte, rappelle the master. A Sack of Rome. A rereading, to piece together. Instead of the Barbarians, the Roman legions. "Always ask why? "
Man to 10 francs. Sentenced for all others. Who saved their reputation. As we save a bank account. And that makes mad collective cowardice. Africa will soon, Dahomey, Senegal, its mirages, its salt. Then the camps. "This man needs to change for the world to change! And again: "Remember, funny idea! "

Remember this lagoon bathed screams, blood and tears. Remember silences, selfishness, exiles. Remember all those new world grind, tore. Continues to grind, to snatch. Remember the wind and waves. Our rain and our lunch of Aigues-Mortes.

© georges festa - 02.2011


Sale August. Sad comedy in four acts by Serge Valletti. Directed by: Patrick Pineau.
According The massacre of the Italians. Aigues-Mortes, August 17, 1893 , Gerard Noiriel.
With: Gilles Arbona, Nicolas Bonnefoy, Hervé Briaux, Celia Catalifo, Laurence Cordier, Felix Pierre Gravel, Laurent Manzoni, Sylvie Orcier.
Assistantship at the staging: Anne Soisson. Lighting: Marie Nicolas. Sound: Jean-Philippe Francois. Set Design: Sylvie Orcier. Costumes: Sylvie Orcier Charlotte Merlin. Accessories: Leon Renaud. General Authority: Florent Fouquet.

site Théâtre Louis Aragon Tremblay-en-France :

www.theatrelouisaragon.fr


After Giving Birth Pants

Bitch History - Yerord dziavoré - Aghet: Ein Völkermord / Barking Island - The Third Rider - Aghet: A Genocide

© Sacrebleu Productions, 2010 - Manana Youth Films, 2008 - Norddeutscher Rundfunk (NDR) / Trebitsch Entertainment (TE), 2010


Notes on three films screened at the ARPA Film Festival 2010: exploring modes of representation in history Bitch, The Third jumper and Aghet: genocide

by Myrna Douzjian

ARPA Film Festival is undoubtedly one of the international cultural events more exciting Los Angeles. The thirteenth edition took place during the week of 21 to 26 September 2010. For me it was the Armenian art event of the year, presenting the work of many Armenian filmmakers, and films with themes related to the Armenians. Among other notable moments, were the animated film by Serge Avedikian, Bitch history [Barking Island], a documentary by Gor Baghdasaryan, Yerord dziavoré [The Troisième cavalier] et celui d’Eric Friedler, Aghet : Ein Völkermord [Aghet : un génocide].

Chienne d’histoire (2010) a remporté la Palme d’Or du meilleur court-métrage au Festival du Film de Cannes cette année. Le film se situe dans la Constantinople de 1910, alors que le gouvernement Jeune-Turc décide de mettre un terme au problème des chiens errants dans la ville. Le film dépeint le sort pénible des chiens, séparés de leurs familles au moment de leur regroupement, puis déportés sur une île, où ils ne cessent de débarquer et où ils sont finalement abandonnés to die of hunger. Subtle details, but significant in the film - adding a book called The Committee of Progress central office of a Turkish official with photos of dogs as pets in the civilized European world, are highlight the paradox of the situation: this inhuman plan is implemented in the name of progress.

In fifteen minutes, Avédikian manages to bring viewers a deeper sympathy for these dogs cartoons. The film ends with a caption informing viewers that in 1910, 30,000 dogs were deported Constantinople to the island of Oxia, where they were "abandoned to their fate." The focus of the film on the government's decision to purge the city of stray dogs can be clearly read as an allusion to the Armenian Genocide, ominously suggesting that the brutal eradication of dogs following this event foreshadows history. The film highlights an important issue rarely raised, straddling the fine line between history and fiction: it means to read a set of historical events as a metaphor of another?

If the deportation of dogs defines the focus of historical Bitch history, genocide is the metaphorical subtext. Thus, while the film makes no historical mention of the Armenian genocide, Avédikian subtly connects the two historical episodes through the film's title. English translation, "barking island", fails to grasp the meaning of the original French, literally "dog of history." The reference to dogs as belonging to history contributes to a metaphorical reading. The French title makes dogs metaphorical, almost allegorical, not liners only of their kind, but the fate of their human counterparts, the Armenians.

The representation of the film, animation, also tends toward the fictional displayed, an artistic creation openly giving no illusion of reality. By the unsaid about the film deals brilliantly Avédikian the concept of genocide as qu'irreprésentable. Its representation in an animated form - in fact, doubly isolated from its historical roots, once through the allegory of the dogs, and again in an animated form - provides a brilliant and unexpected solution to the central problem of postmodernism : The impossibility of representing the truth and history.

Avédikian received a Career Achievement Award [price career success] when ARPA Film Festival. In his speech winner, he evoked the notion of "true testimony, he described as" fragmented "and" torn. " He also explained that the arts help us feel more deeply and better understand the world. Words that capture perfectly the spirit of history Bitch. The film Avédikian on the eradication of a dog pound grate new reading of the genocide - considering history as a chain of fragments that are mutually respond.


The Third Rider (2008) is a documentary consisting of interviews with Armenian citizens of all ages, all social classes and all professions. He received financial support from the Golden Apricot Film Development Programme, the United Nations Development Programme (UNDP) and the Organization for Security and Cooperation in Europe (OSCE), under the Tolerance project without Borders [Tolerance without borders]. The film presents different definitions of intolerance, through the testimonies of various people interviewed. The director presents the story simultaneously parallel, unscripted, children playing in a playground. The documentary alternates responses of interviewees and scenes with difficulties of interaction between children. The intertwined stories suggest a parallel between the intolerant views of adults and children unable to play together seamlessly.

The film opens with interviews Armenian citizens with older youth who complain. One blames the youth to listen to the music of a "black uglier than a monkey." His words could push back any viewer socially and culturally tolerant, as they suggest that racism is a non-issue for this man and, by extension, in some circles of the Armenian community. Other interviewees bemoan the fact that young people listen to what amounts to noise, they lack respect and are ignorant and they go around half naked belly with air. Then the film is returning on children playing in the garden, saying things like "I want to play alone! "And" I have no desire! . By juxtaposing the words of children with earlier interviews The Third Rider the link between independence exhibited by children and complaints of the older generation. And yet we do not know ultimately if the film portrays the conflicts of children as a result of the worldview they have taken from adults or the evocation of their behavior works as a commentary on the character of childish views adults interviewed.

The process of comparing the old and the new generation rises in talks with a young man and young woman, who argue that their elders do not want to understand everything that is different. The status of the more rebellious youth, presented at the beginning of the film, remains unresolved. Viewers are left to wonder about the prospect of half-naked young women and young men wearing earrings described by interviewees older, but never shown in the documentary.

The film also addresses the tensions between Armenians from Armenia and those in Diaspora. Centration of the film on intolerance in a community then crosses About Avédikian on intolerance that surrounds it. One interviewee, for example, expressed his frustration with the stereotype of Armenians from Armenia seen as dishonest, but it depreciates immediately to its own logic by reversing the finding and suggesting that the Armenian diaspora are less honest than those of Armenia . Full realization that another, even more deplorable: the Armenians of Diaspora profit from genocide, because they ended up living in the most civilized countries the world, while the Armenians of Armenia have been abandoned to their suffering. The interviewee goes conveniently ignored the physical losses, cultural and financial suffered by generations of Armenians, because of the genocide, in contrast with the Armenian diaspora as capitalist exploiters. The documentary works again return to the children in the playground "alienating" their equal, competing to see who is Armenian and is the "enemy", placing the limited perspective of the interviewee in a controversy larger that seems to characterize the Armenian community as such.

economic inequality obviously erode the perception of others interviewees, the film argues persuasively that the specific examples of intolerance that result identifies problems and socio-economic broader . The film leaves its audience with a final message of tolerance - ending with a plan of homes in Armenia and the voice of a homeless background, exclaiming: "I'm hungry! Please, my fellow help me! The words of this woman suggest both literal and that his hunger, metaphorical, tolerance and understanding, which the movie. While remaining faithful to the most basic design of the documentary as a subgenus of factual film, The Third Rider as Bitch history, uneasily straddles the line between fact and fiction, history and narrative .


Eric Friedler received the Humanitarian Award Armin T. Wegner Festival for his Aghet: genocide. In short, this film is the documentary on the Armenian genocide excellence, having genocide and the events surrounding it as a history lesson well documented. In a sense, the film revisits and reconstructed historical archives of the genocide, document by document. Its sources include the German and American consular reports, the memoirs of the U.S. ambassador, Henry Morgenthau, those missionaries and other witnesses as well as published news reports and television. The German actors playing the role of witnesses and historical figures, telling the events as well as various sources have reported. They narrate their stories in a tone without assignment, imparting a feeling of deep sadness and truth without equivocation. By highlighting the actual content of their speech and avoiding over-dramatization, the film gives the words of the narrators unparalleled strength. Aghet: genocide successfully traces the narrative arc of history that bitch merely suggest. While the film Avédikian away from the story for metaphor, allegory, that of Friedler uses direct and unadorned narrative of events by the narrators to bring the film as close as possible to a factual representation history.

One could see in Aghet: genocide a representation of the great history of genocide, like almost all Armenians know it. Not only is the documentary presents a detailed chronology of events, but it also refutes the revisionist theories in particular that the Armenians were deported as a threat to the Ottoman state. He responds to this type of justification by asking questions of common sense: why women, children and old helpless were they deported? why the deportation Was it implemented in all regions of the empire, even where there was no threat of war? If the extermination was not the ultimate goal, why were they forced prisoners to walk without being able to eat or drink? The director does not hide the powerful dynamics of the documentary to expose Turkey's efforts to rewrite the history of genocide.

Aghet: genocide also explains the relevance of genocide today, including sequences that have speeches by President Obama, debate on the resolution concerning the Armenian genocide in the Congress of the United States, the sensitive side of U.S. relations with Turkey and the murder of Hrant Dink. The film ends with a strong message, namely that genocide remains highly significant. The final plan shows the Armenians in Armenia mourning the death of Hrant Dink, while a woman holds up a placard which reads "1,500,000 + 1", effectively sending the message that genocide continues today, as history and Tragically, in fact (1).

The use of the term disaster The title of the documentary shows the nuanced vision of the event's director, as exceeding the memory and human understanding. Meanwhile, the equation of the term in the politically charged notion of genocide indicates the main drive of the film - to prove that the disaster was a Genocide. The attempt summarizes the concerns of these three films - the fundamental question of the distinction between history and fiction. While the other two films leave the question largely unresolved Aghet: genocide clearly pushes for historical truth. Result, while most of those seeking the facts finally leave this movie with the impression of being happy, others will come away with feelings of ambivalence and unease. As Marc Nichanian noted emphatically: "We affirm the world that we have been" genocide ", we constantly need to prove our own death. We are still dealing with the executioner. We still belong to the logic of the executioner, from side to side. "(Mark Nichanian. Loss: The Politics of Mourning [Loss: a policy of mourning]. Ed David L. Eng and David Kazanjian. Berkeley and Los Angeles: University of California Press, 2003). While it is certainly gratifying to see its own history recognized responsibly, attempted historical representation thus still leaves in its wake a series of disturbing questions about the genocide: all this has actually happened? that represents a real resolution? and for how long shall we bring the weight of the evidence in this destructive cycle Nichanian IDENTIFIED? Nevertheless, Aghet: genocide realize the formidable task of convincing his audience of the veracity of his presentation of the unfathomable.

Although different from the artistic and thematic with genres ranging from animation to documentary, these three films - History Bitch, The Third jumper and Aghet: genocide - tend toward the "real" in ways thought-provoking, leaving the viewer often troubled, but at the same time undoubtedly enriched.

Note

1. One can not help wondering if the condemnation of Turkey in the film is not motivated by the contemporary tensions between Germans and Turks. Anyway, the material Film exposes unequivocally the complicity of Germany in the genocide perpetrated by the Turkish government. While, as a powerful ally Turkey, the German government was able to stop the genocide, Germany remained silent on this issue. Moreover, as one interviewee regret, the Turks "used guns [German]. Friedler this material which condones nor the German government nor his Turkish counterpart. In doing so, it calls for recognition and reparation.

[ Myrna Douzjian is a PhD student in the Department Comparative Literature at the University of California Los Angeles (UCLA), where she teaches literature and techniques of expression.]

[You may contact contributors Critics' Forum at comments @ criticsforum . org. Articles published in this series are available online www.criticsforum.org . To subscribe to the weekly electronic news items, click www.criticsforum.org / join . Critics' Forum is a group created to discuss issues relating to art and culture in the Armenian diaspora.]

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Source: http://www.criticsforum.org/pdf/1288747858.pdf
Translation: © George Festa - 02.2011
Courtesy Tchalian of Hovig, chief editor of Critics' Forum .