The Caracalla Ensemble Draw "Phenicia Past and Present"

Byblos (Lebanon) – Alian Haddad


14 minutes on August 19, 2018
– Last updated
August 18, 2018 / 21:09

Within the "Byblos International Festivals" held in the old port of Byblos, the Lebanese Caracalla performed on the evening of yesterday, a historic evening entitled "Phenicia Past and Present", which is the old history of the city embodied, Of the first inhabited cities in the world.

The opening ceremony was attended by official figures, in particular the VVV Minister Awadis Kidanian, President Michel Sleiman and his wife Wafaa, the MPs Ziad Hawat, Mustafa Husseini and Simon Abi Remia, and former ministers Laila Solh Hamadeh, Director- General of the Mother Power The Inner Unit Major General Imad Othman Colonel Jihad Abu Murad. The president of the Federation of Municipalities of Jbeil, Fadi Martinez, Mona El Hrawi, director of the information of the Republic Rafik Shalala, deputy mayor of Jubail, Julien Zougheib, commander of the brigadier of Mount Lebanon, Zakhia El Khoury, and Rose Antoine Choueiri, chairman of the board of ABL, Salim Habib and the head of the festival committee Latifa Lakkis.

The stands were filled with Lebanese and tourists who came to watch this choreographic review, which is the 85th review in the series of performances of the Baalbekiya band by founder Abdul Halim Caracalla. Participated in «Phenicia past and present» Huda Haddad, Ra'd fat Tarbih, Joseph Azar, Munir Maasri, Gabriel Yamin, Omar Karakla, and dozens of dancers and dancers, and produced these dazzling 500 garments and visual techniques, directed by Ivan Caracalla and designed his dance left Karakala.

The history of the Phoenician city, which lasted about two hours, rocked the bodies on songs, music and text with a cinematographic touch and lighting techniques on a large screen, with a decorative change in accordance with the different musical melodies who moved the feelings and feelings of the audience and kept him attentive and attentive with all his senses.

As usual, the approach to the narrative of the story through the scenes was painted by the bodies of dancers and dancers expressed in expressive terms and not by the dependence on a traditional scenario followed by the playwrights for the public. The "Caracalla" team controlled the language of the body and reached the implications and ideas and concepts in an innovative, attractive and dazzling, not boring viewer.

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