Nestled on the picturesque banks of the Nile at Sohail Island, theater director Hassan Al-Gretly, the founder of the “Al-Warsha” troupe since 1987, is conducting a storytelling workshop for the girls in Aswan. This initiative is part of the Nibatia Podcast “Southa Sima – Her Voice is Cinematic”. Throughout his career, Al-Gretly has drawn from popular heritage and legends, both local and international, to craft unique theatrical performances. “Ain Al-Aswani” interviewed him to discuss key milestones in his artistic journey and his experiences working with the girls of Aswan.
What pivotal moments marked the onset of your artistic journey? What are the key milestones in your career?
My artistic journey began in primary school, where I participated in school events, acting, singing, and dancing from the third grade onwards. When I reached high school, I faced family pressure; my father wanted me to pursue a career as an engineer, doctor, or economist, but my passion for art prevailed.
After graduating high school, I traveled to England to study theater, with a focus on directing. I then spent eight years working in French theater, directing plays and managing the French National Theater Company. Upon my return to Egypt, I worked at the Hanager Theater at the Opera House and subsequently founded “Al-Warsha,” Egypt’s first independent theater troupe. Despite numerous challenges over the past 37 years, I take pride in the fact that the company continues to thrive.
What notable accomplishments has “Al-Warsha” achieved?
Continuity itself is a remarkable achievement in the absence of government support, making it challenging for us to sustain as an independent group. We have presented diverse theatrical performances that meld singing, storytelling, and sketches, traveling extensively to countries such as Indonesia, Brazil, Europe, and across the Arab world.
We also embarked on decentralized projects, like “Tahtib – Stick Fighting Arts” Center in Minya and a center dedicated to training children in the arts for 25 years. Additionally, we created performances aimed at women and children in the arts for 25 years. Additionally, we created performances aimed at women and children and participated in prominent festivals, such as “Amman Theater Days” in Jordan.
One of our most significant accomplishments is incorporating storytelling into Arab theater, a testament to “Al-Warsha’s” efforts. The storytellers we have trained, including Sayed Ragab, Abla Kamel, Amr Abduljalil, and others, have now become renowned stars.
How did Al-Warsha influence your personal artistic career?
I have had the privilege of working in cinema with esteemed directors such as Youssry Nasrullah and Ahmed Haddad, and I have acted both in Egypt and France. My artistic career has spanned over 55 years, yet “Al-Warsha” stands as my most significant achievement, fulfilling a lifelong dream.
Can a similar project be implemented in Aswan?
I am hopeful but acknowledge the challenges. When I founded “Al-Warsha,” I initially intended for it to be based in Minya, but faced resistance from actors who believed that all artistic endeavors should be centered in Cairo. This reflects our reality, where everything is concentrated in the capital.
Aswan boasts remarkable talents, yet the prevailing culture and the dominance of centralization complicate the establishment of an artistic troupe. For instance, an actress like Aarefa Abdulrasoul only gained recognition after relocating to Cairo. Despite these challenges, I remain optimistic about Aswan’s promising talents, such as the artist and coach Zizo Taj, whose abilities I hold in high regard.
Does the state support arts in the southern governorates?
Regrettably, no. all efforts I have witnessed in the south have been driven by individuals or civil society. The state depends on popular culture, which has not evolved and is disconnected from contemporary needs. “Al-Warsha” received no state support, aside from covering the costs of airline tickets for some international festivals.
How do you assess the opportunities for regional artists?
Their prospects are quite bleak. If someone expresses desire to pursue a career in art, I advise them to consider other options if available. The life of an independent artist is exceptionally challenging, as those who manage to sustain their careers often do so within the realms of commercial or government-supported art.
What have been the most significant obstacles you have encountered throughout your artistic career?
There are numerous obstacles. Centralization in Cairo has long been a significant barrier, compounded by censorship, which has banned our shows with no space for discussion. The participation of women in cinema and theater in the provinces has been particularly challenging, unlike in Cairo. Artistic freedom is fundamental, yet we consistently face restrictions.
What are your future plans?
I am neither pessimistic nor optimistic, but I recognized that Egypt is brimming with excellent initiatives and projects. I am committed to remaining involved in these efforts, including the “Outside the Capital” project organized by the German Goethe Institute, which aims to train girls in Upper Egypt in various skills and arts, such as writing and podcasting, whether directly or indirectly. I hope to see progress in supporting independent arts in the governorates.
Photography: Sondos Reda
- Poet Hassan Al-Gretly during an interview with Ain Al-Aswany
