Dina Kobrosly (28) studied
theatre and works as a theatre practitioner, puppeteer and actress. She also
frequently manages theatre-related subjects including research. She is
currently working on her Masters thesis at the University of Saint Joseph
(USJ), which focuses on the puppeteer.
“I studied theatre at
the Lebanese University and after that, did a lot of trainings, including
puppet training and manipulation, attended the Prague Theatre Summer School DAMU. I also did a lot of
workshops in acting and directing in Lebanon and Tunisia, and went to Poland last
year where I gave a residency in theatre
and puppetry for troubled Polish youth in Lublin.”
Originally from Baalback, Kobrosly is affiliated with the Arab Theatre Training Centre. She also teaches theatre at a public school (Jamal Rawass High School for Boys) and has worked with Asdikaa al Duma and APTF and taught at schools.
The young puppeteer and
theatre practitioner’s first memory of puppetry was a play called Shattie ya denye Sissan [Let it rain chicks] by
Karim Dakroub [of the Khayal troupe] to which her
mom took her. “I don’t remember anything about the play now, but I remember
that the sky was raining with little “sisan” (Arabic for “chicks”)… I think I
was happy then.”
She subsequently saw Kello Mn Lzaybak starring Aida Sabra [the
character’s name was: Em Oyoun – the mother of eyes] and Issam Bou Khaled [Zaybak].
“I learned the song and I memorized it and kept saying it until it faded away. The
song says something like ‘Zaybak, they named me Zaybak, I have no luck, they
were cruel to me and my heart is
like a lily (Zanbak)…’”
It was once enrolled at
university that Kobrosly became passionate about puppetry: “ I had a class at
uni in puppetry and I thought it wasn’t enough and I saw myself creating
something out of cloth or out of material so I started to see where there were
workshops. I took a couple of workshops, and then I went to Prague, and I
studied there for 3-4 weeks and subsequently started working with Les Amis des
Marionnettes in 2012. This helped me understand how different puppets are made
and how they are manipulated.”
Asked whether she had
developed a special skill or area of expertise over the years, Kobrosly
suggested that: “In Lebanon it’s a package: when you know how to create the puppet
and it’s technique, you know how to move it – so you have the urge to give it a
voice let it talk. So I think when you make (puppets) you can be a performer –
even though it might not be a masterpiece.”
“I love to watch
Lebanese puppetry shows! The last
two shows I watched were One Puppet Show (also known as:
Massati) by Issam Bou Khaled and
Landscape of our Tears by Collectif Kahraba,
which visually, was well made.”
“These two performances
are a very powerful turning point in the scene. Most of the puppet theatre in
Lebanon is targeting children and it is not addressing adults and youth and
these two plays addressed other types of audiences but still also children. In
terms of venues, Metro al Madina is trying to make a
difference in this sector breathing new life into the art form.”
“Maasati addressed the
relationship between the puppet and the puppeteer, the live thing and the
dummy: am I alive or am I a rag?”
Given that Kobrosly’s
thesis is focusing on the puppeteer, it is not surprising that Bou Khaled’s
performance resonated with her. “I’m researching the history of puppetry not
just from Lebanon, the history of the puppeteer in the world in general. Usually
when you deal with puppetry, the puppet is the centre of attraction but the puppeteer
is hidden, in the dark. I’m trying to conduct research on puppeteers.”
Kobrosly believes that
Lebanon is a fertile ground for puppetry and puppeteers: “Lebanese people have
a lot of good jokes and good stories to tell they tell them with sarcastic
intention and the Lebanese people are really – laughs – I don’t’ want to generalize
but they are living in a very dire economic and political situation and this
kind of situation gives a lot of ideas and from here puppetry can be a conduit
to express yourself and the censorship is less [of an obstacle] as you get away
with more with a puppet.” Our sample of 10 women working in the field of puppetry each shared their professional trajectory, gave insight into focus of their work, their passions and views on puppetry in Lebanon.
The women puppeteers provide insight into the medley of traditions and styles that have infused the Lebanese scene, the wide array of contexts and purposes in which puppets are being used, created and performed. Not surprisingly they are a reflection of the magic and versatility of the medium – and Lebanon’s diversity.
Discover Women Puppeteers in Lebanon – A series showcasing several artists
Compiled by Nathalie Rosa Bucher for Les Amis des Marionnettes
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