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The graduation projects, showcased at Le Monnot Theater’s ACT, shed a light on successful directors-to-be. Among these promising young talents, Garcess Kanaan lately presented his play, The Father, an adaptation of August Strindberg.
Garcess Kanaan, a former graduate in business and management from USJ, directed his graduation project in Theater, from the Lebanese University, after years of dreams and perseverance. His adapted play, The Father by August Strindberg, was staged at Le Monnot Theater under the supervision of the legendary Julia Kassar.
This play is part of the UL’s graduation projects, which are presented in a professional setting at the ACT. Le Monnot theater’s Artistic director Josyane Boulos emphasizes the theater’s commitment to being “a space for everyone, also offering a platform accessible to young talents.”
Garcess Kanaan’s The Father manifests the determined will of youth, carving out an artistic path on stage. Talent and perseverance confront stage fright and hesitation to present a well-crafted and message-laden project.
As the audience enters the merely illuminated space, the actors are already on stage, frozen in a panoramic tableau out of time. “I decided to keep the 1887 era,” says Garcess Kanaan, “to show that women were stronger than men, not to forget that we didn’t have DNA tests in this era.” The scene gradually lights up, and Bechara Atallah’s conceptual costumes immediately give the actors personality and color.
The text, sharply adapted into Lebanese, is powerful and reflects today’s suppressed sentiments. Unspoken words emerge in an emotional crescendo, highlighting the contrast between man and woman, especially since the young girl stands on equal footing with her mother. “Feminine solidarity,” one might say.
Regarding actors’ direction, Garcess Kanaan states, “I decided to realize my vision through the Realism stream, relying on Stanislavski’s method which brings out truthful emotions.” “My vision was to point out how women united can destroy any man,” he explains. “And that’s what Laura does; she manipulates every woman in this house: the nurse and her daughter. Moreover, he is the only man facing three women. That’s why I designed the poster to depict the captain as a puppet among three women,” he continues.
Why adapt this play? The young talent responds naturally, “I found many aspects of myself in it. The first thing that touched me was how a man can be weak and express his emotions. He can cry. He can love. As a Lebanese citizen, especially in my environment, there is always the image of ‘The Man.’ It is shameful if we cry. Even if I am watching a movie with my parents, I control my emotions because they might laugh at me as a man. The second reason of my choice is the daughter in this mad house who cannot decide her own future because of her parents’ selfishness. I went through a similar experience when I finished school and decided to choose my career. They refused, and I had to pursue something I was not passionate about at all. Third, I am a feminist. I love how a woman can achieve her goals, but I was against what Laura did. However, I admired her strength, especially in 1887 when women were seen as servants to their husbands.”
Garcess Kanaan’s meticulousness, word choice, sense of detail and taste for aesthetics are striking in his work. In his raw drive, he goes beyond the creations of “emancipated” directors. He undoubtedly reminds us of Corneille’s famous quote, “Men like me do not cause themselves to be known at a second trial, and they wish [to perform] masterly strokes for their first attempt.”
The Lebanese University’s theater students’ graduation shows take place in July on various days at Le Monnot Theater’s ACT. Free admission.
