Kadour Naimi

Kadour Naimi in 2009.

Kadour Naimi (or Kaddour Naïmi; Arabic: قدور نعيمي‎‎; born November 4, 1945 in Sidi Bel Abbès, Algeria) is a film producer, play wright, film-maker and writer.

Biography

Naimi is the son of a shoemaker father and a housewife mother.[1] He graduated from a double high school course in French and Arabic. After graduation, he attended the University of Oran, where he earned a double certificate of general literary studies in French and in Arabic (1965-1966). Naimi gained entry to the Ecole supérieure d'Art dramatique of Strasbourg, then was directed by Hubert Gignoux and Pierre Lefèvre (1966 – 1968) where he studies staging and dramaturgy.[2] Back in Algeria, he became known in the theatrical field.

At the end of 1973, he emigrated to Belgium. In the Université catholique de Louvain (1974 – 1979) he obtained a degree in sociology, then started a PhD in sociology of the revolutions (1979 – 1982).[3]

Interested by the cinema, he emigrated in 1982 to Italy, acquired citizenship, and is involved in films, theater and literature.

Theater

K. Naimi in 1968.

In August 1968 in Oran (Algeria), he created and directed the Théâtre de la mer : Compagnie de recherches et de réalisations théâtrales expérimentales (Theatre of the Sea : Research and experimental theatre productions Company).[4] The works have particularly innovative features in the Algerian cultural context:[5] independent production, ethical and political[6] freedom, self-management, collective creation,[7] research[8] and experimentation,[9] popular theatre,[10] and unconventional places of performances (places of work, study or neighborhood squares).[11]

The basic principle for the presentation of the shows followed the Algerian traditional rite of "Halga"( حلق):[4] (schema: point 1: acting space; point 2: entry and exit of the actors; point 3: space reserved for spectators). The works are presented also in rural areas, to a farmers audience who has never seen this kind of show.[12] The public is urged by different ways : see the rehearsals and make observations, take action during the show itself, as an integral part of the action [13]

Circular performance of La Valeur de l'Accord on a farm, for farmers and students, 1969. K. Naimi, center, presents the show.

The theatrical writing is in the form of screenplay and the performance is similar to the movie style.[14]

The works are produced in different countries :

Algeria (Tlemcen): Le Cireur (The shoeshine, 1965), writing, directing and interpretation.

France (Strasbourg) : foundation of Ensemble théâtral du Tiers-Monde (Theater group of the Third-World), composed of students (1967), Chant funèbre pour l'ennemi du genre humain (Dirge for the enemy of mankind, 1967) production, writing, directing and interpretation, L'importance d’être d'accord (The Importance of the Agreement, 1968) by B. Brecht, adaptation, directing and interpretation ;

Algeria (Oran and Algiers) : works collectively produced and written in the Théâtre de la Mer (Theater of the Sea) founded and directed by Naimi : Mon corps, ta voix et sa pensée (My body, your voice and his thought, end of 1968), La Valeur de l'Accord (The Value of the Agreement, 1969) Forma – Révolu / tion (Form-Revolu/tion, 1970), La Fourmi et l’Éléphant (The ant and the Elephant, 1971), Mohamed, prends ta valise (Mohamed, take your bag, 1972), written collectively under the direction of Kateb Yacine. Because of disagreements with this author, Naimi resigns from the company.[15]

Tunisia (Hammamet) : Et à l'aurore, où est l'espoir ? (And at dawn, where is the hope ?, 1973), production, directing and interpretation ;

Belgium (Bruxelles) : Palestine (Palestina, 1974), production, writing, directing and interpretation ;

Italy : I Canti di Maldoror (Les Chants de Maldoror), 1984 : adaptation of the book of Lautréamont, production, coreography and directing ; Parto senza bagagli (I go without luggage),[16] 1995, by F. Bagagli e M. Mirojrie ; Anno Zero (Year Zero), 1996 : producing, writing and directing ;

Algeria (Béjaïa) : Alhanana, ya ouled ! (The Tenderness, guys !), writing, choreography and direction, production of the International Festival of Theatre of Béjaïa.

The press emphasizes the originality of the innovations and the shock they produce in a part of the public: Mon corps, ta voix et sa pensée (My body, your voice and his thought),[17] La Valeur de l'Accord (The value of the Agreement),[18] La Fourmi et l'Éléphant (The Ant and the Elephant),[19] La tendresse, les enfants ! (The Tenderness, guys!).[20] Ould Abderrahman dit Kaki appreciates the experience,[21] also essayists and historians.[22] In 1973, the work Et à l'aurore où est l'espoir ? (And at dawn where is the Hope ?) receives Research Prize at the International Festival of Hammamet (Tunisia). In 2012, the Algerian Ministry of Culture makes official tribute to the man of the theatre for its production.

Some of his theatrical innovations have influence.[23] They are similarities between the theatrr of Naimi and that produced by two men of Algerian theatre: the first, Kateb Yacine, in playwriting[24] and directing[20] ; the second, Abdelkader Alloula, in the following fields : collective creation,[25] circular space,[26] experimentation,[27] type of public and places of representations,[28] audience participation,[29] decor and suggestion,[30] body, voice and mind,[31] self-management, research and training,[32] importance of Bertolt Brecht and of Erwin Piscator[33]

Film work

K. Naimi filming the first short Marco detto Barabba (Marc called Barabba), 1981

In 1986, in Rome, Naimi creates the production and distribution company Maldoror Film , and directs until its closure in September 2009. Excluding the first short film, made in 1981, the company produces the other films and documentaries of the film maker. He makes production, writing, shooting, lighting, editing and directing, including the poster. Exceptionally, he has collaborators as co-workers or co-producer.

Marco detto Barabba (Marc called Barabbas), fiction (1981) ; Arancia blu (Blu Orange), documentary (1985), Anima near (Black Soul), documentary (1986), Festa a Villa Gordiani (Feast at Villa Gordiani), documentary (1989), Anno Zero (Year Zero), documentary (1990), Ieri, Oggi, Domani (Yesterday, Today Tomorrow), documentary (1992) ; Maldoror, fiction, adaptation of the work Les Chants de Maldoror by Lautréamont (1997) ; Dove il Sogno diventà Realtà (Where the Dream becomes Reality), documentary (1999) ; Piazza del Mondo (Square World), documentary (2003) ; Jesce Sole : Frammenti di vite frammentate, (Rise up, Sun : Fragments of fragmented lives), fiction (2006) ; La réalisation de Alhanana, ya ouled ! (The realisation of The Tenderness, guys !), documentary (2012) ; 莺歌燕舞 (Yīng gē yàn wǔ – The Oriole sings, the Swallow dances), documentary, presented in September 2014 to Portobello Film Festival in London[34]

About the contents and forms, these works are produced as independent cinema,[35] or even "guerrilla" cinema, no institutional financial support or private, with a minimum crew and limited economic resources. Shooting are made digitally, with the exception of the first short-footage, Marco detto Barabba (Marco called Barabbas), shot in 16mm colour. The presentation was mainly in places outside the commercial circuit.

Other work

K. Naimi and Terence Hill during filming.

In 1986, Naimi creates in Rome (Italy) the School of Maldoror Film. He directs et teaches until its closure in 2009.[36] In 2006, he creates and directs in Rome the International Free Cinema Festival. There are three editions (2006 à 2008).[37] He presents and directs a weekly television broadcast on Tele-Lazio (January–June 1995). Entitled Cittadini del Mondo ( Citizens of the world), It presents the public with Italian artists and intellectuals from other countries, particularly sensitive to the international dimension and solidarity of their work.

Naimi played roles in various fields. Theatre : Bilal : protagonist (1964), Le cireur (The shoe polish, protagonist, 1965), Mon corps, ta voix et sa pensée (My body, your voice and his thought, co-protagonist, 1968), La Valeur de l'accord (The value of the Agreement, co-protagonist, 1969). Television : series Don Matteo, episode Donne e buoi dai paesi tuoi (Women and oxen from your own), directed by Andrea Barzini (co-protagonist with Terence Hill, 2001), Butta la luna (Throw the moon), by Vittorio Sindoni (secondary character, 2006), Capitano 2 (Captain 2), by Vittorio Sindoni (secondary character, 2007).

Cinema : La Poussette (The Stroller), by Aziz Benmahjoub (protagonist, 1974), Senza Parole (Without Words), by Antonnello De Leo (secondary character, 1995), best short fiction of the 69th Academy Awards ceremony in Los Angeles.

Radio : Le retour au désert (The return in the desert), by Bernard-Marie Koltès, directed by Elio De Capitani (2004).

Literature

In French

Short Novel :

Poetry :

In Italian

Short Novel :

Poetry : singular poems :

Books :

Bibliography

Main books that analyze the theatrical works of Naimi :

References

  1. ↑ "Le créateur Kadour Naïmi de passage - 07/08/2014". Ladepeche.fr. 2016-02-20. Retrieved 2016-11-11.
  2. ↑ "Biography". Kadour-naili.com. Retrieved 2016-11-11.
  3. ↑ Synthesis : Self-management and hetero-management : from the breaking revolutionary process to the totalitarian conservatory system, in Invarianti, Antonio Pellicani Editore, Rome, in 3 parts : Year II, n. 7, autumn 1988, n.8 winter 1988-89, Year III, n.9-10, spring-summer 1989, political and cultural quarterly magazine.
  4. 1 2 "bilan theatre mer algerie boutisiniga-tamara". Kadour-naimi.com. Retrieved 2016-11-11.
  5. ↑ Bari Stambouli. "Le diagnostic de Kali". Djazairess.com. Retrieved 2016-11-11.
  6. ↑ Mohamed Kali, 100 ans de théâtre algérien (One hundred years of Algerian theater),(French), in particular chapter Kadour Naïmi ou les limites de l’engagement politique au théâtre (Kadour Naimi or the political commitment limits in the theater) , pp. 167-184, Algiers (Algeria), Socrates News Editions, 2013.
  7. ↑ Ali Arra'y (علي الراعي), االمسرح في الوطن العربي (The theatre in the Arab nation),(Arabic), Koweït, Edition of the National Council for Culture, Arts and Letters, January 1979. And Mohamed Kali : 100 ans de théâtre algérien, o. c. p. 161.
  8. ↑ "Original representations, of a totally new design in Algeria. In fact, it is - to my knowledge - the only Algerian company, rejecting the classical forms of theatrical, using the laboratory theater." La République, Noredine Khib, Oran, October 23, 1968, newspaper.
  9. ↑ Mohamed Kali, Le théâtre algérien, un malentendu (The Algerian theatre, a misunderstanding),(French), Algiers (Algeria), Edition Ministry of Culture, 2002, pp. 125 e 127.
  10. ↑ "The rigor of the political purpose does not contradict the antics and hilarious ferocity of the show. The director of the Théâtre de la mer, Kadour Naimi, has been able to make this lament emigrant a "lament" fed theater of humor and pace.It is the true popular theater, a theater that invites to pleasure and deducts its aesthetic from the needs of its struggle. » Politique-Hebdo, Michel Sarti, Paris, March 2, 1972, newspaper.
  11. ↑ Tamara Alexandrovna Boutisiniga, Thousand and one year of Arab theatre, (Russian), translated into Arabic by Tawfik Almou'din, Beyrouth (Lebanon), Edition Dar Alfarabi, first edition 1981, second edition 1990.
  12. ↑ Algérie-Actualités, Kamal Bendimérad, Algiers, April 1969, weekly.
  13. ↑ Ali Arra'y, op. cit.
  14. ↑ "The opera stage writing, from beginning to end, is a decoupage in purely cinematic plans, using different areas of the stage as its depth, playing with lights and colours to emphasize the view angles, all data in a fast pace and scenes sometimes very short." El Watan, Mohamed Kali, March 30, 2013, newspaper.
  15. ↑ "Inscription - Connexion". Elwatan.com. 2016-11-07. Retrieved 2016-11-11.
  16. ↑ "The staging of the Algerian Kadour Naimi is essential and measured." Michela Sensi, L’Informazione, March 28, 1995, newspaper. "The direction of this work is entrusted to Algerian Director Kadour Naimi, who, for decades, is engaged in artistic research of the essential". Il Giornale di Ostia, March 4, 1995, newspaper.
  17. ↑ La République, Nordine Khib, Oran (Algeria), October 23, 1968, newspaper ; Algérie-Actualités, Kamal Bendimérarad, Algiers, April 1969, weekly ; El Moudjahid, Halim Mokdad, Algiers, January 11, 1969, newspaper.
  18. ↑ "Collective Creation, this suite of tableaux - announced by a clapperboard identical to those used on movie sets - is a violent attack against US imperialism. The revolution thus continues on stage and the Theatre of the Sea seems to have opted for the "laboratory" formula. Of course, disputes (ah, what a word !) comes from all directions ... "THE VALUE OF THE AGREEMENT" shakes by its form somewhat habits of the viewer. (...) " N. Khib, La République, 5 avril 1969, newspaper.
  19. ↑ "The Ant and the Elephant", presented recently at Mouggar by the "Theater of the Sea", has had a certain success. With the large number of spectators during the four performances and the discussions that followed, this work will really left an impression and not least (...). The Sea Theatre must exist in the thousands." Ecchabab, Algiers, unsigned article, February 7, 1971, weekly.
  20. 1 2 "Inscription - Connexion". Elwatan.com. 2016-11-07. Retrieved 2016-11-11.
  21. ↑ "Finally we have also in Oran what not seen anywhere in North Africa, an experience a bit to one side, currently done by the members of the 'Jeune Théâtre de la mer'. It has almost to do with the method of the living théâtre, this theater that requires another building, another way of interpretation." La République, Oran (Algeria) 27–28 October 1968, newspaper.
  22. ↑ "Kadour Naimi is one of the most emblematic theatre men of the years 1960/1970". Mohamed Kali, 100 ans de théâtre algérien, o.c., p. 167. "The Algerian company of 'Théâtre de la mer'" , founded by Kadour Naimi, is considered an example », Tamara Alexandrovna Boutisiniga, Thousand and one year Arab theatre, op. cit.
  23. ↑ "Wikiwix's cache". Archive.wikiwix.com. 2011-10-29. Retrieved 2016-11-11. An extraordinary team led by Kaddour Naimi, in Europe today, the Théâtre de la mer that sign deeply his era (late 1960s-early 1970s), thanks to his research and his ability to use, in his work, new techniques making greatly appeals to body and gesture.
  24. ↑ Charles Bonn. "Article - Limag". Limag.refer.org. Retrieved 2016-11-11.
  25. ↑ La République, Oran (Algeria), 25 to 26 December 1974, newspaper ; Algérie-Actualités, Algiers (Algeria), n ° 707: 3–9 May 1979, weekly.
  26. ↑ El Moudjahid, Algiers (Algeria), 13 to 14 October 1989, newspaper. And Djilali Tahraoui, Théâtre expérimental "halka" ( Experimental theatre "halka"), Oran (Algeria), University of Science and Technology (Project studies to get an engineering degree in architecture State), 1986-87 academic year.
  27. ↑ Révolution, Algiers (Algeria), 18 May 1990, Weekly.
  28. ↑ Algérie-Actualités, Algiers (Algeria), 14 to 20 January 1988, Weekly. And Abdelkader Alloula, La représentation de type aristotélicien dans l'activité théâtrale en Algérie, Oran, 20 October 1987.
  29. ↑ Benkhellaf Abdelmalek, Les fonctions narratives dans le théâtre de Abdelkader Alloula, Alagoual (Les Dires) et Lajouad (Les Généreux), annexe 2 (Magister Memory), Mentouri university : Constantine (Algeria), Faculty of Arts and Languages, 2006.
  30. ↑ Alloula Abdelkader, La représentation de type aristotélicien..., art. c. And interview of Abdelkader Alloula, collected by Mohamed Djellid, Oran, October 1985.
  31. ↑ Interview by Abdelkader Alloula, collected by Mohamed Djellid, art. c.
  32. ↑ Algérie-Actualité, Algiers (Algeria), 15 to 21 April 1982, Weekly.
  33. ↑ Algérie-Actualités, Algiers (Algeria), 15 to 21 April 1982, weekly.
  34. ↑ "Portobello Film Festival London". Portobellofilmfestival.com. Retrieved 2016-11-11.
  35. ↑ "Cinema". Kadour-naimi.com. Retrieved 2016-11-11.
  36. ↑ "Teaching". Kadour-naimi.com. Retrieved 2016-11-11.
  37. ↑ "Festival". Kadour-naimi.com. Retrieved 2016-11-11.
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