To be worthy of death in the land of death, it is not a tired desire. Open the door on the body of read the reasons for the crises, read until you died. Opening the door to Ziyad's huge body, despite the nutritional conditions, changes the ideas for the last time. However, Ziad's sad death does not lead to a sleep of enthusiasm in the last reading of what the person has done on earth. One of the most prominent playwrights of the 1980s was to reject many friendships, not because he wanted to reject them, because members wrote their surplus collections on other books. Ziad of the others. However, this man, who had no ostrich legs, found only in the theater his adult class. His friend studied at a theater in the United States. He read books and read. Watch many plays and watch more. He did not dream of women of paper, or of inappropriate plays. When he returned to Beirut, the coffin of many friends and colleagues, he happened to travel to the Far East. And his illness and his illness, in the presence of the presence of friendly grandmother, that is no longer just being glorified. This man does not pass. That's how it always looks.
In the series "Beirut and" (Directed and directed by Paddy Nasraldin)
The presence of the most important period in Beirut culture, the play by Ziad Rehavani "For the Control of Shaw" (1978). Ziad appeared as an American at a bar / state. A salty man, but he could only cry from the heart before the children's drawings. Rabbit rabbits were happy in the show. The presence of a warm room on the road in the middle of a cold storm. Ziad left his mark with American stamps, away from poetry, because he is realistic, and indeed his master, especially in Shakespeare's plays. Texts presented by the Lebanese University. He came from an American personality, not from the box, which came from those snowy days in the United States. When Shakespeare moves between ecstasy and confusion, puzzled planes, unknown texts, Shakespeare and the ecstasy of working on the texts in search of old suns plunge into the books of reality. Realism is an essential tool in everything that Ziad Abu Abbasi did in the theater. However, the theater Ziad Rahbani's life and the theater of Nora. Outdoor light behind stained glass. Realism fell in a wide-scale play about Ziad, who stood on realistic pillars while falling for fifteen minutes an hour. Diving into the soft figures of the characters, entering the hard sheets of the characters. "Edward" (in the play "A Long American Movie" / 1980) is infested with terror from Islam and Muslims, Abu Abbasi emerges from the role of the space. There are no false reporters when Ziad and Ziad, because the days of war are days of joy and joy, contrary to what they are today. Ziad left the realm of nothingness whenever he was busy with Ziad Rehavani's plays. Every presence occurred. Unintentional fear of Muslims in the mental hospital, did not fall into the traps of imagination between personality and personality, because he wrote to every trained figure. Dancing in the basin of myths, superstitions, because work in the theater is a big myth.
Ziad Abu Absi was not allowed to participate but to guard the gates of hell in Beirut. A city that only improves the "castration of the horses" and the promotion of the blind and the blind. His concealed melt remained hidden until he painted his nails in the play "Shay Faschel" (1983). Abu Abbasi was also present when the plane aspired to the role of Abu Zuluf, who would orchestrate the share so that he could no longer remain silent. Thus the director of the play closed the play in the Manifesto by collecting the pleasures of the Lebanese by singing the heritage and the world while they were away from it. Omar Kamel at a glance. The man is already in the orchards of the theater's nobles. It did not remove him after the store rock was destroyed by this play. Spilled for more than twenty minutes to plant new wisdom in the face of his old stupidity. The leading time is not half the time to lead this play. Play on meat and things aware of meat. Play on the climactic journey between body and mind, each of them approached good friendship and mutual understanding and mutual concessions as if they were more than Harmonic coupling, lived the first moments of the meeting or standing on the balcony of the last farewell. Reality, reality, reality. The reality between Ziad Rabbani and Ziad Abu-Absi. Zidan was found in rings of Ziad Rehavani, "Zina Rabbani" (Radio "Kol Ha'am"). Spectacular radio spaces explore the creative energies of sound over all the pleasures of audio playback beyond sound. Sounds the threshold of great fantasies in «Mind Accessories». Ziad Abu Abbasi did not grow as mad trees grew in remote deserts between theatrical works and the radio works. Gibran introduced the voice of the people. Something like the sudden transition to a series of traces of Gibran and Lil and Jean, in which Ziad found what alerts the brain and senses the senses and frees dreams.
"Edward," who was infected with Islamophobia, recorded the departure of Abu Abbasi from the role-play to the wide space
Radio is not Athena Ziad Abu Abassi. Athens Theater Half-monk with short hair. The Theater of His Ability, the Elilo Theater. Any absence from this familiar space in his life, an absence from life itself. Thus he found the heavy meanings in the theater, so he found himself in need of it. Free travel in my free life in a free theater. In the confusion, his role in Lula was a place for hope (1994). The fourth plays with Ziad Rehavani, because they are plays with oriental food. The texts read professionally and spontaneously, and at the same time, on platforms emerging from exploratory journeys, the main idea is to overcome the explosive situation, the nature of the light of the storm and the songs of stunts. In Ziyad's plays Ziyad found new places for a new life. The story of the fat young man became clear with Ziad Rehavani. Great holiday meals for those who took the opportunity and not catch him because he believed in some owners, and because he found his seat on his train … seat on the window. I know it contributed to the rise in news about the brutality of news and incitement. These plays opened their minds and hearts for constant communication between people, and the need to maintain authentic life. The actors did not listen to the plays when the audience toyed with them as parts of a new prophecy away from ordinary people. A good thing for the Lebanese about the destructive events. Still images in sound. The sounds are still in the ears.
Ziad Abu-Absi tried to confirm the ticket to the theater, except for the final days of the play "Without the Space of Hope." He understood the theater of Ziad Rehavani and his servants, but did not serve him in the last parts. He did not talk about it. Busta wrote on Facebook in a local dialect announcing that his bed had been burned down by Ziad Rahbani.
Professor of theater at the Lebanese University, with the most prominent professors and playwrights, from Laila Al-Dabas, Nora Al-Skaf, Lina Aviad, others and others, a passion for philosophy, Sartre and Cardcard. Because it is in his poetry, in his lyric tone, whenever he talks about philosophy and philosophers. I love Socrates and not Plato. Many articles have been signed in several local newspapers because a warrior often wore khaki to get a rest of his day. He worked in several cold works such as The Fall of Avaise Aga (1981) for Faisal Farhat, and several problematic plays with a tendency to higher scenarios. The key to Rafiq Ali Ahmad is an example (directed by Marwah). The man lived in all the stripes and neighborhoods, the wine of the days and the dance of Zorba, and he wandered between texts, where he met love: love for each other and love for each other. He did not dream of Hollywood movies and he appeared in some of the city's movies and dramas. His most prominent appearance in Nadine Labaki's film "Laila Levin" (2011) is the role of the cleric who beats all things, but faith. A street pulse and life in the theater, drama participants in dramas. The transfer of classical texts within the walls of universities and academies for purposes unrelated to education, to support research on Arab culture in the cultures of others. He took the picture and caught the pictures at once. He brought the writings of Shakespeare's Italians in solid translations.
His presence was allowed only to guard the gates of hell in Beirut
Ziad is not seen in a cafe or in a cultural forum. Married and divorced from the shadows of the church. Divorce means that life is not limited to anything that sustains the being. Because when he threatens his existence, he has to work behind the facade, leading to a decent life.
The Marxist died alone as he lived. They found him alone after talking about the vitality of history. A man on his head is a fire, so is he. The man said he missed a craze for diabetes and that he was out of the coma after three months in America. He will not rise again from death, after he passes through death with pride. Because he knew that anyone who did not know how to die would die sometimes and sometimes. He found the middle of things scattered on the ground. His possessions and life were scattered on the ground. His body did not disperse, for he chased death swiftly, as if chasing a thief. He did not bite his teeth, nor did he turn around to see his life for the last time. He did not feel fear or sudden worry or dry throat. I know it, because who knows that Ziad knows it. He died without others seeing him in critical condition. Ziad is dead: death is closer to his contemporaries. When I wanted to say something else about Centrepoint this, I wrote a Twitter tweet: Life is a shame, you just have to learn balance. It's hard, it's one of the hardest things. Ziad left the interrogation room after being betrayed. He left without files, as if he were a pink lamb in a children's story.
The funeral will take place on Tuesday (11 am) at the Evangelical Church in Rabia, and his body will be transferred to Rashiya al-Fakhar's birthplace, where he will be buried in the family cemetery. Condolences are received before burial in the living room of the Evangelical Church starting at 09:00, following the burial in the Church of St. George Archduke Brahaya Al-Fakhar, and on Wednesday, November 21 at the Evangelical Church 3: 30-8: 00. The condolences will also be received on Sunday 25 at the Presbyterian Church of the Presbyterian Church (Sidon South Lebanon near the Evangelical School) from 12 noon to 18 pm.
The Lebanese Communist Party: Visibility is the basis for change!
With the departure of the playwright and director Ziad Abu-Absi, theater theater loses a large and brilliant name, where they contributed to a large number of theatrical works in writing, directing and acting. And his departure is a loss to the academic center, because the deceased was a prominent educator and has been practicing in theatrical education in several universities and institutes in recent years.
His passion for theater pushed him to specialize in Shakespeare's work and he had liked him since he was young. Ziad Abu-Absi, whom the Lebanese know through the personalities of Edward, who fear the other in the play "A Long American Movie" and "Abu Zulf," who shunned old-fashioned and sectarian ideas and opportunism in the play "Shay Fashil" by Ziad Rehavani, to emphasize his exceptional talents in the game People and their hearts and set up in their subconscious.
After years of absence from his theatrical work, he returned and presented the play "Dollhouse" by the writer Henryk Avson in 2015 and this was the theatrical work of his last life. In addition to his theatrical work, the author wrote many articles on philosophical, political and social issues: Al-Na'ida was very proud of the publication of the later articles on its pages, and in one of them, "Change does not come without effort, so the person who aspires to change is an active person. "If you look at yourself, you see that you are constantly fighting or not, then knowledge makes life happy" (Al-Nida, February 2016).
A paragraph he wrote at the end of an article in Al-Nida expresses the best expression of his firm belief in the need for a constant and continuous struggle to improve things and push them forward, to overcome all obstacles and barriers that may cost us.
In addition, Abu-Absi presented several programs on the radio station "Zoot al-Shaab", participated in several programs and also presented his own programs, where he worked for many years in the curricula, through which he trained many broadcasters and exhibitors.
Abassi's work reflected the play, radio and poetry in accordance with the principles of human dignity and social justice, and he was engaged in the struggle against greed, aggression and human illusion of deceit and evil.
The cultural-artistic committee of the Lebanese Communist Party believes that Ziad Abu Abbasi's departure is not only a loss for his family and his loved ones, but a loss for anyone who has free progressive thinking. Finally, the Committee extends its deep condolences to the families of the deceased, his loved ones and his students. Abu Abbasi left and left honorable and illuminated pages on the wall of time.
* Culture – Technical Committee
The Lebanese Communist Party