The play «Sakakine» (Knives) was staged following extensive discussions during workshops, under the supervision of the Youth Groups Network. The network was determined to facilitate and moderate these discussions between the young people of the Syrian Committee in order to deal with the daily relations between Lebanese residents and Syrian refugees from different aspects – economic, security and social. This play, then, is the fruit of the efforts of dozens of young Lebanese and Syrians who met and engaged in frank discussions and were completely candid. They agreed to tell the truth – that there are knives in Syria, and knives in the soft Lebanese underbelly.
Everyone agreed that the writer was portraying what is taking place in Lebanon and Syria as a maelstrom in which no way out is seen, except through frank dialogue and peace.
The final scene of the play portrays this never-ending situation through a collective Mawlawi-style dance, in which the dancers revolve around themselves like a clock's hands, which don’t rest unless we take out its batteries or if we replace them with doves of peace.
During the writing of the script, Lebanese and Syrians spoke up when it came to the issue of rights and duties. The Syrians asked to be equal to Lebanese who were displaced in Syria, for one reason or another, while the Lebanese complained about labor competition in all areas, even in Syrian television drama. Everyone relied on the opinion of the Youth Group Network and familiarized themselves with the opinions and real participation by local media employees and professional artists from among their friends and acquaintances and the writer's colleagues, among them myself. I proposed that the dramatic solution lie in circling around one's self in trying to express the reality of what is taking place, to speak truthfully about what the two peoples are suffering. In addition, I proposed that there be a complete dialog between them - in the open and in secret. All of this helps us exit the predicament of the knives that are forced on both people.
The discussions about «Sakakine» certainly turned into candid sessions over time, followed by clarifications and questions. Friendships grew between Lebanese and Syrians, especially over the issue of Syrian-Lebanese coexistence, and not only for the participants, but also all of the displaced in the south.
We should note here that the towns and villages of Jdeidet Marjayoun, Khiam, Qlaiaa, Kfar Kila, Kfar Shoub and Ibl al-Saqi all enjoy certain particularities in terms of daily life. Moreover, each has its own socio-political opinion. Thus, the participants tried to discuss daily life and traditions, which allowed them to arrive at solutions acceptable to both sides.
For example, Ibl al-Saqi is known for its young people. It's also known as a southern town with little in the way of a Syrian presence. However, the interaction between the participants created a new atmosphere and closeness, in leisure time and the ongoing meetings, for candid daily discussions – even political ones. These discussions were characterized by the understanding that was shown, and the raising of topics such as what wasn't known about the two sides.
In conclusion, friendships and family visits and sessions took place and continue to do so; these activities produced means of cooperation in all areas, especially the economic one.
Merely sitting down side by side allowed for friendships and sincere, candid debates that will certainly help coexistence between Syrians and Lebanese, especially if this moves from young people to their families and even children.
The training covered the completion of scripts and the techniques of theater: lighting, sound, effects, music and the use of the studio, in addition to the accepted foundations of acting and enunciation and even singing. All of this was part of the theater training, along with debates and listening to all opinions in a serious and honest attempt to have a positive impact on the participants. It was designed to allow them, and especially the Syrian displaced, to express their human opinions, leaving behind the political dimension.
In reality, «Sakakine» was a modest attempt to extend a hand by the Lebanese, even through theater, to help people exit - even if psychologically - the Syrian crisis, which is shot through with gray.