2023-06-16 16:04:15
Alvira Younis to Asharq Al-Awsat: The producer must reconcile the platforms with the concerns of the viewer
Elvira Younes is one of the most famous actresses who printed the Lebanese drama. When she entered this field in the sixties, the arena was almost empty of female actors of her generation, so she struggled and tired to prove her talent and achieve success following success. Her fame spread and she became a well-known face that the Lebanese still remember to this day.
Finally, Elvira Younes appeared once more in the spotlight at the “Beautiful Time” festival. She is one of the members of the ruling committee in it, and for that time she preserves her beauty.
When she begins to talk regarding that period, she gets excited and takes her axes to the period of black and white, animated films and historical series: “We were working hard and tired, and sometimes we presented the work directly on the air, as in (Abu Al-Marajel). And every year, when the celebration of the (Beautiful Time) festival approaches, I recall that sweet scene that we shared with our talents and with love.
Elvira Younes, like other girls of her generation, moved away from the screen, and admits: “I feel so low when I see actresses and actors languishing in the house without anyone paying attention to them, even though they are still able to give.”
On the other hand, when Asharq Al-Awsat asks her if she is ready to return to the screen, she replies: “Of course I am ready and always present, but I refuse to pronounce what does not suit my artistic history. If you offer me shy offers and roles that are not appropriate for my long career, I will refuse them.
Elvira Younis believes that the “Beautiful Time” festival is an honoring gesture that the state should have made. Had it not been for plastic surgery doctor Dr. Hratch Sagbazarian, I would not have found this idea: “He is influenced by his childhood and the artistic faces he was brought up with. He only wanted to honor her because she engraved joy and happiness in his mind. He is one of the people who reconsidered the stars and artists who had forgotten the days. He restored consideration to our journey and our position as actors who dug into the rock in order to reach what they were.
Yunus notes that as a member of the aforementioned festival committee, she is always looking for names from contemporary history. It had its mark and impact on people, commenting: “We were dear guests to the viewer’s heart, speaking in terms of his condition and telling his stories and sufferings. Subconsciously, a close relationship was born between us and the spectator to the point of melting.
Alvira Younes blames the current dramatic productions, whose problem lies in the stories she presents: “These stories no longer resemble our people and society and do not share their concerns, so they went much further to meet, as they say, the needs and demands of the market.
But what is the use of the producer paying attention to the demands of the platforms and not looking to the problems of an entire society? Drama reflects reality, which is something that does not exist today in the era of action series, crimes and addiction of all kinds.
He blamed her for the dramatic text, and on the other hand, she finds that today’s actors are creative: “Our actors and actresses are excellent, but unfortunately they do not offer what brings them closer to people. In my opinion, the producers must recalculate their accounts in order to follow the right dramatic path.
What draws her to the scene today is the paralysis prevailing among production companies: “When I follow a work, I already know who its heroes will be. Production companies now have their own team of actors, directors and writers. And this paralysis did not exist before in our days. And when I follow a work, I expect that there will be some difference in the dramatic scene in general. But unfortunately it does not happen. When they set us aside and handed over the trust to those who came following us, we waited to see development, but unfortunately nothing happened.
Alvira Younis provokes the degrading text, which its producers claim is conveying the reality of the street: “Why should I convey so much lack of decorum and morals to homes and houses? Leave the street to its people and address the people of the house with what concerns them. We can overlook the street from the balcony of our house without living under our roof. It is better for writers and producers to look at the situation of people. Today, we are in dire need of someone who turns to us, pats us on the shoulder, and gives us solutions, not the other way around.”
And when you ask her to describe the dramatic arena today, she says: “I find it more showy than realistic. They took people to a different place related to fashion, (fashion) and changing (look). They were waiting for the appearance of the actress more than her acting performance. On the other hand, romantic and social works are declining day following day, as they do not add to the viewer certain information or historical glimpses and other things that might benefit him and enrich his cultural background.
Younis expresses her admiration for a new generation of actors, and demands that production companies turn to graduates of art institutes: “I am attracted to Stephanie Atallah and Nicolas Mezher, for example, and my memory fails me regarding other names. However, producers should diversify instead of limiting their businesses to the same names. There are large numbers of such students who are waiting for suitable opportunities. Why don’t you knock on their doors?”
As for the era of electronic platforms, she finds that it contributed to the spread of the Lebanese actor: “I blame the one who produces series for it, as he can stand in the middle and reconcile it with the viewer. He satisfies the requests of the platform and addresses the concerns of the people at the same time. But they throw people behind them and just look at the podium.” And when she remembers the days of the beautiful time, she returns to the names of her contemporary from the daughters of her generation, such as Marcelle Marina, Elsie Fernini, and the late Noha Al-Khatib Saadeh and Hind Abi Al-Lama:
“We used to learn from those older than us and preceded us to the world of acting, and these are the principles. Today they leave those of my generation in their homes, even though we are an addition to the emerging artists. They can need us and use our experiences in order to refine their talents and color them with our accumulated experiences. As in our normal lives, we need the mother, aunt, aunt, and support. Likewise, in the field of acting, the young man also needs someone older than him in order to gain his experiences.
Alvira Younis participated in many heroic and dramatic roles, including “Fares Bani Ayad”, “Good Evening”, “Street of Ezz”, “The Wounded Hand”, “The Night Player” and others. She also appeared in radio acting and animation. Her natural performance reached all ages, and she presented the character of the bee, Zeina, in the animated film, “Zeena and Nahl.” She was the narrator in “The Smurfs”, and she played the role of a joking Smurf and an arrogant Smurf. And regarding that era full of successes of all kinds, she says: “My career with acting was long and over 50 years old. It was a time dominated by love and intimacy, and we were like one family, pulling each other’s hands, and supporting each other.
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