مدي 1 تي في : محمد أشاور..مخرج ببصمة خاصة - 02/10/2024
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00:00Salaam alaikum and welcome to a new episode of your daily and artistic patchwork show.
00:20Saeed Kantaqa is here with you as always to present and share with you some news,
00:25as well as the latest news in the field of art.
00:28Fatih Ansar, welcome and thank you.
00:34Welcome again to our guest today, the artist and director of many talents, Mohamed Ashour.
00:40Salaam alaikum and welcome.
00:42How are you?
00:43Saeed, once again, I'm here with you for the patchwork show.
00:45I think this is the latest version of the patchwork show.
00:47It's still a bit old.
00:48They gave you a certificate for residency.
00:50It's from the 70s.
00:51Before the patchwork was added, everything was new.
00:53Welcome, Mohamed.
00:55How are you?
00:56I'm fine, thank God.
00:57Mohamed Ashour, one of your innovations and actualities is that you founded a school
01:02to train actors.
01:06How did you come up with this idea?
01:08The idea came to me when I was in elementary school.
01:14I noticed that there was a problem with training in Morocco, especially in terms of art.
01:21There aren't many schools or centers.
01:25The only ones we see are the high schools that teach acting and cultural activities.
01:32There are some schools, but in an awkward way.
01:38I said to myself, why don't we create a training center where the pedagogy is at a high level,
01:46and there are professionals who teach.
01:48There are students who aren't lucky enough to be in the competition,
01:53or who have a passion for acting,
01:57especially that there aren't many actors.
02:02Of course, this is a lot.
02:04But they don't find many roles, either as directors or producers.
02:08You, Mohamed Ashour, based on your experience and knowledge,
02:12you said that your pedagogy isn't enough.
02:15As I said, there are still people who want to work with you.
02:19Of course, there are people who want to work with me because of my pedagogy,
02:23and as you know, my academy is one of the best.
02:26But I don't have a young generation,
02:33between 24, 23, 25 years old.
02:37You don't find young people in this category.
02:40There are people in their 20s, 50s, 40s.
02:43And now, if you want to cast someone,
02:46you don't find many options.
02:49For example, if you want a chic, classy, 50-year-old woman,
02:55you have one, two, three actors.
02:58The actors have professional tools and are capable of the job.
03:02You don't find young people who are 17 or 18 years old,
03:08who are strong in their abilities.
03:11So, your center is for all ages.
03:13For all ages.
03:14From young children.
03:16It's increasing.
03:18People who are 60 or 70 years old can come.
03:20It's true.
03:21When you look at people who are 60 or 70 years old,
03:23do you want them to be actors or not?
03:25I read Osama Sayed's book,
03:27and it was very nice.
03:29I read it in a previous institute.
03:32He was a theater director in the 60s.
03:34He was 17 or 18 years old.
03:36His family situation didn't allow him to continue his career.
03:41So, he worked for 40 or 50 years.
03:43After that, he got his degree.
03:45Then, he started reading.
03:47He was successful.
03:49Then, he started watching TV shows.
03:51He did small roles.
03:53People discovered him.
03:55The film has no age limit.
03:57What did you call this school, Osama?
03:59It's called the Leading Role Center.
04:01Leading Role means the main role.
04:03Yes, the main role.
04:05What it means is that
04:07a person always tries to play his main role in his life.
04:11It's very important.
04:13Whether it's in his artistic life
04:15or in his personal life.
04:17This center is not only for acting,
04:19but also for self-development and personal development
04:23through the ways of the theater.
04:26It allows a person to overcome his shyness,
04:30his timidity, his lack of self-confidence,
04:32and many other factors
04:34that affect his professional path
04:36after graduation.
04:38Through the theater and coaching,
04:40you can overcome them.
04:42Let's go back to this point
04:44of self-development and pedagogy.
04:46Before that,
04:48let's watch some pictures.
04:50These pictures were taken
04:52at the opening of the center
04:54called the Leading Role Center.
05:24The Leading Role Center
05:26is a multi-purpose theater
05:28that offers a wide variety
05:30of performances,
05:32performances,
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07:16In Marrakech, people are known for their spontaneity and humor.
07:25But a professional actor needs to be able to act.
07:30Anyone who has the chance to act under the direction of a director...
07:36...should be able to act with people who have lived their lives in the past.
07:44But that doesn't mean that he will continue to act until he develops his talent.
07:50What are the difficulties you face when you don't have a talent?
07:55For example, if you have talent, you can't go to school.
07:59You can only go to a school of talent and education.
08:05Is talent enough to succeed in acting?
08:10No, it's not enough.
08:12You need to have talent?
08:13Yes, because it's limited.
08:17A professional actor needs to have a lot of experience...
08:24...to be able to play a lot of characters.
08:31If you have talent, it's difficult to play a lot of characters.
08:39Because if you have a lot of experience, you won't be able to play a lot of characters.
08:46For example, if you play a character who doesn't have a lot of experience...
08:50...it's difficult for him to play a lot of characters.
08:53A professional actor can play a lot of characters.
08:57But these are exceptions.
09:00You can find someone who hasn't played a lot of characters and has a career.
09:03But you need to have a lot of experience.
09:06We saw in the photos that Adil Abatourab is here.
09:10Is he a friend of yours or a partner of yours?
09:15Adil is a friend of mine and a partner of Abatourab.
09:19There is also Farida Bouazzaoui and Jamil Elhouni.
09:24They are well-known actors in the field.
09:29There are also other professionals like Maria Azgour...
09:34...Mohamed Ibn Ibrahim from Ertizal.
09:37There is also Abdour B.
09:40He is a screen actor.
09:44I forgot his name.
09:46There is also Raouf Sobahi in the acting department.
09:50There is also Khawla Ibn Amran in the screenwriting department.
09:54So there is a group of people.
09:56And of course, there are other people who will come as well.
10:00There are also other people who will come as well.
10:03It is very important that they have field experience.
10:06It is not just an academic experience.
10:09Field experience gives you the opportunity to know...
10:13...as in all fields, the theory is not the application.
10:15You read a lot of books, but when it comes to application...
10:19...there are many other things that the actor or the artist has to deal with.
10:25In the system, when a young actor goes to the center...
10:32...does he read once a week or twice a week?
10:36Or is there a two-year course?
10:39For reading, there are two hours a week.
10:46There are 35 sessions a year, which is 35 weeks.
10:50At the end of the 35 sessions, there is an exam...
10:54...which is given a certificate from the administration and professors.
11:01The goal is to reach the third year of reading.
11:06The first year is the initiation, where you take the first base.
11:11The second is to go deeper into the base.
11:13And the third is the distinction and excellence, which is a workshop...
11:17...in addition to the application services.
11:19We work on film, theater, drama...
11:24...with the actors and the people who are outside.
11:28You said that you take the role of the center's lawyer...
11:35...as a reward for your work.
11:39It is not even a reward.
11:41I took the role of a lawyer in a previous center.
11:45I took many students' applications.
11:49Some of them were in the main roles, and I thank the channels for their support.
11:54I know that some of my students took part in the first-round movies.
12:01There is a possibility.
12:03A young person should be patient and stand in this field.
12:08Mohamed Asawar, I want to share my experience with you.
12:11I don't want to be filmed.
12:14Anyway, I took the role of a lawyer in a previous center.
12:20I received a lot of support.
12:21I can say that the theater and the actors...
12:26...support young people a lot, especially if they are a bit shy...
12:31...or if they are not open-minded.
12:33This is where the importance of self-development comes from.
12:38The theater provides you with artistic, technical and aesthetic tools...
12:43...that help you develop your personality.
12:46You mentioned this, and I heard about the testimonies.
12:50The testimonies came through my work.
12:57I used to teach in a center, and now I have my own.
13:02I teach in companies.
13:05A company has an author, and I give them a program in the program.
13:11I noticed that, even if they are in other places in Morocco...
13:17...they don't necessarily have to be in this center.
13:19It gives them an opportunity to develop themselves...
13:24...especially if they have a lot of training.
13:27I don't like self-development, when a person is alone and doesn't say anything.
13:33A person should participate and be interactive.
13:37I noticed a change in people in the last six months.
13:43People who are not ready to learn...
13:46...will feel that they will lose opportunities.
13:50They won't be able to develop their skills.
13:54You start to see it in people's eyes.
13:58You start to see how they behave in front of people.
14:01You start to trust them.
14:03You give them your opinion.
14:05You don't see that in the same company.
14:09One person has a face, and the other one has skills.
14:16But the one with a face doesn't give up.
14:18Because he's alone.
14:20And the one with a face has problems and lacks self-confidence.
14:27He can't express himself.
14:29I have a question.
14:30What is it?
14:32I don't know if you've watched the show.
14:36We call it a show, but we don't imagine it in the same way.
14:42It's not in the same title.
14:44The show is about a big revolution...
14:49...that is taking place in Tanja and Wujda.
14:53This revolution brings light and honours a number of Moroccan artists...
15:00...who live in Belgium.
15:03In the field of art, literature and cinema.
15:06Belgium is organizing the Nomad Centre of Arts...
15:11...in partnership with CLB, the Belgian Laureate's Circle.
15:16Belgium will hold exhibitions...
15:21...and various exhibitions of a number of Moroccan artists.
15:28The show will be in Tanja from 4 to 25 October.
15:33In Wujda from 1 to 30 November.
15:38Details of the show can be found on musim.be.
15:43We're back with Mohamed Achawar.
15:46Mohamed, what can you say about the cap of a creative artist...
15:51...and the cap of a business man?
15:53What does this project entail?
15:56Is it about financial planning, business plans, etc.?
16:00It's about the cap of a creative artist and the cap of a business man.
16:06When you start a project, you have to plan it financially.
16:12You have to decide how you're going to invest.
16:14How you're going to invest in the centre.
16:17What you're going to get. The quality of education.
16:20The space in which you can spend your money.
16:23But the main thing is...
16:29...why do you want to divide the first part of your education...
16:35...with the rest of the population?
16:37You want to share it with the students.
16:40You want to see their lives change.
16:42Even if you don't get there, it's very useful.
16:44Of course, there's the financial side.
16:50But that's not what's important.
16:52We've done everything we can for the formation of the children...
16:58...to be at the same level.
17:00The children are doing their own development.
17:04We pay them to learn about audiovisuals and photography.
17:08There are many things that can change through our efforts.
17:13Financial planning, of course, because it's a business.
17:17But we don't want to win over the financial side.
17:20We want to share it with the people and give them a chance to learn.
17:24Isn't it a big risk?
17:27Life is not a big risk.
17:29It's a bit risky.
17:30When I first came here, I thought it was a big risk.
17:35But now I see that there are demands...
17:38...and there's no risk in any business.
17:43So you encourage people to invest in art.
17:45Yes, I encourage people to invest in art.
17:47He's a good friend.
17:50We need the courage of Moroccan business leaders to invest in art.
17:56It's acceptable.
17:58There are many countries that don't have a culture.
18:06If we show them the season, they won't like it.
18:11Our actors are very passionate about art.
18:15They're ambassadors of the country.
18:16So we shouldn't encourage them, we should invest in them.
18:22It should be a normal thing.
18:24It should be a normal thing, and it's profitable.
18:26If you look at the budget of the ministries and cultural institutions,
18:33it's profitable, but it costs money.
18:36There's the pedagogical side, and there's the profit side.
18:38If you invest, you'll profit, not lose.
18:42It's important to focus on children and to give them training.
18:49From what age can they take on the leading role?
18:53We have children from 5 to 12 years old.
18:56But they're divided into groups of 5 to 8 years old, and 9 to 12 years old.
19:025 years old is 12 years away, and 5 to 8 years old is 9 to 12 years old.
19:07These are the groups of children.
19:09There's also the group of teenagers, who are 13 to 17 years old.
19:15This group has the pedagogy of how to deal with them,
19:19and how to train them.
19:21And then there's the 18-year-old, who is responsible for everything.
19:25He's responsible for everything.
19:27Stay with us, Mohamed Ashour.
19:28We'll continue with the news of the international stars.
19:31Jacob Collier is always famous for his great performances.
19:37He performed a song and a video clip with the Norwegian artist Aurora,
19:43in the North Pole, in his own way.
20:07I'll be waiting on the world
20:10I'll be waiting on the world
20:14I'll be waiting on the world
20:17I'll be waiting on the world
20:21I'll be waiting on the world
20:24I'll be waiting on the world
20:27I'll be waiting on the world
20:30I'll be waiting on the world
20:33I'll be waiting on the world
20:37I'll be waiting on the world
20:46I'll be waiting on the world
21:06I'll be waiting on the world
21:09I'll be waiting on the world
21:13I'll be waiting on the world
21:17I'll be waiting on the world
21:21I'll be waiting on the world
21:36I'll be waiting on the world
21:44I'll be waiting on the world
21:46This clip is by Jacob Collier.
21:48The Norwegian artist was in the Greenpeace organization
21:53to raise awareness about the climate crisis.
21:59I'm back with our guest of the day, Mohamed Ashour.
22:04Can you give some advice to young people
22:06who dream of becoming an artist?
22:13I don't think it's easy.
22:18Art is not a short-lived thing.
22:21If you put your heart into it, you'll get it.
22:24No matter what, if you put your heart into it,
22:28you'll be able to do what you do in school,
22:31in training,
22:33and you'll be able to do it even if you don't get a lot of offers.
22:39There are a lot of people who go to other trainings
22:44and don't have money.
22:45You and five other people who want to do it,
22:48go to a theater and write.
22:49People don't stop.
22:50All the stars you see today in space,
22:54each of them has a story.
22:55They'll tell you that they've been doing it for 15 years,
22:59and that they've been doing it for a long time.
23:02They don't have a contract of 100 million,
23:08or empty cars.
23:11After a while, you realize that you're a director
23:15and your career is about to start.
23:17There are a lot of stars who refused to do the casting.
23:20Of course.
23:22The casting is a psychological barrier for many young actors.
23:28It's a test to see if you're a good actor or not.
23:33The casting is a test to see if you're a good actor or not.
23:39You can change the color of your skin,
23:43you can get whiter than normal.
23:45I don't want someone who has a desert accent or who's from the East.
23:54I don't want someone who's not a good actor.
23:56I don't want someone who's a bit short,
23:59and you're in the spotlight,
24:01and you're a bit of a crook.
24:04So, the casting doesn't work because people are sensitive.
24:08It's a test to see if you're a good actor or not.
24:10There are some directors who can be found in the dark.
24:13A wild casting.
24:14Yes, a wild casting.
24:15They'll see you and tell you what you want to do.
24:18That's how it works.
24:19So, you have to be patient and wait.
24:22Did you have any projects?
24:24No, I'm taking a break right now for a number of reasons.
24:31In terms of cinema, there's a general decline in our cinema.
24:39A decline?
24:41Yes, except for the productions.
24:43But I saw a lot of productions in the summer and in the winter.
24:47The decline doesn't mean the commercialization of the productions.
24:52I'll tell you about one of the dynamics in the early 2000s.
24:59It was a decline after a break.
25:01This dynamic contributed to a lot of things.
25:03There was the creative sector,
25:06there was the financial sector,
25:08and there was the institutional sector.
25:11I think that now there are a lot of legal solutions
25:17so that everyone knows...
25:20But did you have a script?
25:23Did you pay for it? Did you have an idea for a film?
25:25Did you plan it?
25:26No, I didn't.
25:28I didn't pay for the script.
25:31I didn't want to pay for it.
25:32You didn't?
25:32No, I didn't.
25:33You paid for it, but at the right time.
25:35Yes, at the right time.
25:37That's not a problem.
25:38God bless you.
25:40I hope you don't make a mistake.
25:42It's a win, as they say.
25:43I'm sorry, but I don't know what to say.
25:45Thank you very much, Osama.
25:48As I told you, I've been coming to you since the 70s.
25:51I hope you have a long patchwork.
25:53You have a long history.
25:57We've reached the end of today's episode.
25:58Thank you, Moussoul, the technical expert and the artist.
26:00Thank you, Moussoul, for joining us.
26:01I hope you had a lot of fun.
26:02And now, patchwork.