D-Sisyphe (pronounced as in the French ‘décisif’, meaning ‘decisive’ in English) is an important piece of performance, both as a creative expression that fuses contemporary dance with physical theatre and as an insight into the kind of socio-political situation of Tunisians that ultimately led to the 2011 uprisings that began in Tunisia and spread across the Middle East. The piece offers a humanised perspective of one man, Khmais, with his own feelings of loss and desperation at what he sees as the wreckage of his life – loathed by his wife and son, rejected by society and having lost faith in God, he is alone and afraid.
The play follows Khmais for one night at the construction site where he works, overthinking his life. Award-winning actor Meher Awachri developed D-Sisyphe as his final project at university, starting with a text he had written based upon The Myth of Sisyphus by Albert Camus. In an interview with al.arte magazine, Awachri described how the book raised questions for him “about my life in Tunisia before the revolution during the time of dictatorship, about the problems within Tunisian society and about my problems with society. Camus compares the absurdity of man’s life with the situation of Sisyphus. In D-Sisyphe I created a Tunisian version of Sisyphus”.
In 2011, a small piece of graffiti demanding the fall of the Syrian regime instigated a vicious crackdown by the government upon its young perpetrators. This graffiti was arguably one of the catalysts that led to the Syrian Revolution, which has since deteriorated into the now four-year-long civil war. It is somewhat fitting then that today, the cultural and artistic responses in the war-torn country have been described as the only positive development of the conflict. Despite the widespread devastation – which has seen over 230,000 people killed, more than 4 million fleeing as refugees, and almost 8 million internally displaced – Syrians have been responding to and documenting their crisis creatively, taking advantage of greater freedom of expression of an essentially collapsed state (compared to the fierce censorship that reigned during Assad’s unchallenged rule). That is not to say that artists are free from the repercussions of their work – many artists have been forced out of work, threatened, beaten, imprisoned, forced to leave the country or, in some cases, killed. In spite of the danger, and beyond the sounds of shelling and bombardments that try to drown them out, many artists both inside and outside the country continue to battle against tyranny to make their voices, and those of the Syrian people, heard.