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|Naguib Surur (1932-1978)|
Egyptian playwright, poet, actor and critic, whose literary career lasted two decades and who became a legend in his lifetime. From the late 1960s and during the 1970s until his death Surur was one of the most prominent and disputed figures of the Egyptian theatre. His verse dramas received wide acclaim on the stage, but his personal problems and self destructive life style led to his untimely death at the age of 46.
What will be said,
Mohamed Naguib Mohamed Surur Hagrass was born in the village of Akhtab, in Daqahlia governorate. To earn extra income for the family, Surur worked in the cotton fields in his childhood. After Surur broke with other young boys into the mansion of the local Pasha, a symbol of tyranny in his later works, he was beaten by Pasha's men. His father, who was a tax collector, was fired from his job, and the family moved to Cairo, where he worked as school teacher.
Surur began writing poetry at an eartly age. The famous poem, Al-Hizaa, was written as a reaction to an incident, in which his father was humiliated by the governor. Surur's nationalistic verses were published in various periodicals. His first plays Surur wrote in the late 1950s. While working as a censor at the Ministry of Culture, he became friends with the playwright Numan Ashur (1918-87). By showing a green light for the production of Youssef Chahine's film Bab al-hadid (1958, Cairo Central Station), about the sexual obsession of a news-paper seller, Surur found himself in trouble at his job. After abandoning his studies at the law school of Ayn Shams University, Surur entered the Institute of Acting, graduating in 1956 and continuing his studies on a scholarship in the Soviet Union and Hungary. Surur studied the technique of Stanislavsky and worked for a short period in the Arab section of Radio Moscow and published articles attacking Gamal Abdel Nasser's government. In a public demonstration, Surur called Nasser "a fascist."
Following a brawl in a café, Surur was beaten at a police station. He left Moscow for Budapest, Hungary, where he worked for the Arabic-language broadcasting and came into conflict with the Syrians. As a result, Surur lost his job, but during this period he wrote the poems, which were collected in Luzum ma Yalzam (1960, The Necessity of What is Necessary). Upon his return to Egypt in 1964, Surur directed Anton Chekhov's Cherry Orchard at the Cairo Experimental Theatre, known as the Pocket Theatre. He taught at the Academy of Arts until mid-1970s and made five directorial projects and acted in four plays. Fired from the Academy and persecuted by the Secret police, he eventually sank into depression and was confined to an asylum.
Surur's literary works include eight plays, three dramatic adaptations, five collections of poems, and four collections of es says, among them Rihlah fi Thulathiyat Najib Mahfuz (1960, A Journey into Naguib Mahfouz's Trilogy), based on articles published in the magazine al-Thaqafah al-Misriyyah. Surur wrote both in verse and in Egyptian colloquial Arabic. Yasin wa-Bahiyah (1965, Yasin and Bahiyya), staged by Karam Mutawi at the Pocket Theatre, was inspired by Alexander Pushkin's verse novel Yevgeny Onegin (1827). The play was cast in the form of a folkloric tale about the love of a young man, Yasin, and his beautiful cousin, Bahiyyah, whose life is destroyed by a feudal lord. Min ayn ajib nas (1976, O, Would That I Had Listeners)combined acting, narration, song, folkloric chanting, and direct political commentary.
In the 1950s Surur acted in a number of plays. For the Folk Theater in Cairo, he directed his own play, Shajarat al-zaytin (The Olive Tree) in 1958. As a stage actor Surur had perhaps his most memorable performance in Shawqi Abdel-Hakim's Okazion (Sale) in 1977. In the production Surur played the part of an unemployed drunken playwright, actor and director, whose tragedy drew material from his own turbulent career.
Surur's dramas have not yet been translated into many European languages. Luzum ma Yalzam was translated into Spanish by Santiago Alba y Javier Barreda under the title Hacer imprescindible lo que es necesario. The poem Tada'iyat Al-Sukr wa'l-Daya' (Drink Delirium) has been translated into English. Brutukulat hukama' rish (1974, Protocols of the Elders of the Café Riche) drew on the notorius The Protocols of the Elders of Zion, an anti-Semitic forgery; Surur believed in a "Jewish-Zionist-Masonic" plot to infiltrated and destroy Arab culture.
In his critics Surur uncompromisingly considered the quest for 'popular tradition' as inability to connect with the present. On the other hand, Surur's works have been seen as a reaction to the Western cultural influence (as stated in the Finnish source Otavan kirjallisuustieto, 1990). During the final years of his life, Surur suffered from alcoholism, paranoia, and recurring bouts of depression. His last article for al-Katib magazine, entitled 'Brutukulat al-thawabit wa-l-mutahawwilat,' dealing with the poet Adonis, came out in 1979. Surur died on October 24, 1978, after a lenghty illness, which kept him mostly bedridden. A collection of articles, Hakadha qala Juha (Thus Spake Juha), was published posthumously in 1981. With his first wife Sasha Korsakova, whom he met in Russia, Surur had two children. After divorce he married the artist Samira Mohsen.
Surur's most controversial poem, the banned Kuss-Ummyyat Naguib (1969-1974, Nuguib's Mother's Cunt), is a satirical attack on the official culture and Egyptian politics, whom he ;blained for the defeat in the 1967 war with Israel. The work remained unpublished for long period, although cassette tapes of the poem were circulated in underground. After trying to publish the poem on the Internet, Surur's son Shohdy Surur was arrested and charged of possessing "immoral booklets and prints" in the court in 2002. Sentenced to imprisonment for a year, Shohdy fled to Moscow into exile.