Eerily Prescient Play Tours US

By Pat McDonnell Twair

The People's Theater Sanabel normally performs its improvisational play, "Waiting for Faraj," furtively in camps of the occupied territories. This fall, however, the 10-member troupe was able to act out its revolutionary drama in its entirety during an eight-week tour of American cities.

The improvisation, based on Palestinian life under Israeli occupation, and the exhilarating talent of the troupe's four actors electrified Arabic speaking audiences across the US. For many it was their first encounter with a genuine example of revolutionary theater.

More than 45 theater groups have sprung up in the West Bank and occupied Jerusalem since 1967. Palestinian theater was forbidden in 1976 and went underground. Sanabel was formed in 1984, named for the Arabic verse that states: "Every dead seed of the ear of grain or wheat (sanabel) means new life of many seeds."

Even the title, "Waiting for Faraj, " is symbolic. Faraj is a common Arabic name, but its meaning is relief, a relief that comes by unified efforts of men, not by miracles. The play is loosely based on the existentialist drama, "Waiting for Godot," and the black South African script, "Wake Up, Albert," but the narrative cuts to the heart of the Palestinian tragedy.

Israeli censors refused to approve the play, stating that scenes of Palestinian prisoners and day laborers being beaten were unrealistic. Censors even managed to charge anti-Semitism for a scene in which Israelis dropped bombs from a helicopter, which they said could be interpreted as an attempt by Israelis to kill Faraj, who might be regarded as the Messiah. Hence, the censors asserted, it could be inferred that Jews were again killing the Messiah.

There is no religious connotation in this play, completed with eerie prescience only two months before the intifadah began. It clearly was telling the Palestinians to stop waiting for outside intervention and act to solve their own problems.

Egyptian fella about to descend from the ramp of an airliner. As newsmen and Palestinians ask him questions, the Egyptian stretches out his arms, blinks his eyelashes heavenward, and answers "hmmmm" to all queries. At last, the Palestinians say "This is not Faraj." The Egyptian tears off his turban to reveal a yarmulke as he runs off stage.

The play ends with a rousing message...that they can no longer wait for Faraj ("relier') but must unite to bring about relief for themselves.

Before embarking on their American tour, Sanabel actors spent two months in the West Bank and Gaza gathering actual incidents of conditions and suffering of people living under occupation. These tragedies are portrayed in a scene dealing with the lot of day laborers. As the men vie for a chance to earn a day's wages, their personal stories unfold. A fisherman, forbidden to fish in the waters off Gaza, now tries to find work as a laborer, as do an unemployed blacksmith, waiter, and mechanic.

Saloom also portrays an elderly Palestinian peasant woman who is interviewed by an Israeli reporter Instead of answering his question of what she will ask of Faraj when Actors of The People's Theater Sanabel in their play "Waiting for Faraj," which has completed an eight-week US tour. Palestinian theater was forbidden in 1976 and went underground.

One of the actors, Ibrahim Olaiwan, portrays a Palestinian who, while not revolutionary, is certain relief must come from the masses. In contrast is the resigned Palestinian, played by Ahmed Saloom, who is willing to wait for a miracle.

Humorous one-liners are rampant throughout the production. When the two men are tossed into prison, their Israeli interrogators order them to strip. The traditional man whimpers, and protests at the order to take off even his undershorts. Finally, stubbornly clutching the drawstrings of his drawers, he draws himself up and shouts at his jailers: "What do you think I have in here—a tank?"

One of the best scenes is when rumors are shouted from offstage that Faraj has come. The spotlight turns to Olaiwan, this time dressed as an he comes, the woman describes how Israelis took away the sacks and weights she uses to earn a living selling figs on the street. Now she cannot support herself or bring food to her four sons, all of whom are now in prison. The reporter tells her he does not want to hear such stories.

The play ends with a rousing message as the non-traditionalist convinces the resigned Palestinian that they can no longer wait for Faraj, but must unite to bring about relief for themselves.

Rousing Music & Comedy

In true people's theater fashion, the actors join the audience at the culmination of the play, making it an experience shared by all. At a southern California performance Saloom performed Palestinian national music on the lute, and Hassan Abu Aisha offered a stand-up comic routine on Middle Eastern politics that had the audience rolling in the aisles.

Backstage, director Hayan Yakoub said the troupe was uncertain about the reaction of Israeli authorities when it returns to Jerusalem at the end of October. Even if the group is jailed, Yakoub said, the US tour will have been worthwhile if it has succeeded in conveying two messages to US audiences. First, Palestinian theater has developed its own methods and has come of age. Second, the real Palestinian problem is the fact that the US government supports the Israeli occupation. If the troupe returns to the United States for future tours, and translates its script into English so that Americans are made aware of the humor and bravery of the Palestinian people, it is likely that non-Arabic speaking Americans would turn out to give the same warm welcome Sanabel received this time by the Arab/American community.

Pat McDonnell Twair was an award-winning journalist with the Tucson Daily Star and Long Beach Press Telegram before returning to UCLA for graduate studies in archaeology. At present she is a Los Angeles-based freelance writer on both Middle Eastern and archaeological subjects.