Amman — Jordanian actor Habes Hussein believes the advancement of Jordanian drama depends on moving beyond an abundance of productions towards higher-quality scripts and greater artistic depth. He stresses that an increase in the number of productions and production companies does not necessarily mean the drama scene is developing unless it is accompanied by a creative vision that responds to social and cultural changes and gives Jordanian actors opportunities to perform influential roles in works with artistic and intellectual value.
اضافة اعلان
This perspective stems from Hussein’s extensive artistic experience, through which he continues to appear in a variety of radio and television productions that combine the portrayal of national history with dramatic and social storytelling.
While emphasizing the importance of developing writing, acting and directing techniques, Hussein believes responsibility for advancing Jordanian drama rests with everyone involved in the production process, from the writer to the director, actor and producer.
In radio, Hussein took part in the historical series Marka Al-Amir, broadcast by the Jordan Radio and Television Corporation. He portrayed King Abdullah I bin Al-Hussein, the founder of modern Jordan, in a 90-episode production based on the founding king’s poetry collection and memoirs. The series traces key milestones in the establishment of the Jordanian state and its national journey.
Written by novelist and media professional Ahmad Al-Tarawneh, directed by Alaa Al-Rababah and produced by the Jordan Radio and Television Corporation, the series attracted interest and positive responses from listeners.
The production revisits a pivotal period in Jordanian history, using the capabilities of radio drama to bring historical figures and events to life through voice performances, helping reinforce national memory among younger generations.
Hussein also participated in the Jordanian drama series Talaal Street, produced by the Arab Media Center Group and based on a script by Mustafa Saleh. He hopes the series will eventually be released and broadcast on television, following the passage of time since its production.
He also appeared in the Bedouin drama Al-Aydarous, written by Mustafa Saleh, directed by Bassam Al-Masri and produced by the Arab Media Center Group. Hussein expressed hope that the series would be broadcast soon and reach audiences.
As for his upcoming projects, Hussein is participating in a new historical drama for an Arab production company. He declined to disclose details of the project or reveal the company’s name at this stage, pending an official announcement.
These projects reflect the diversity of his work across historical radio and television drama and Bedouin productions. They also demonstrate his continued willingness to take on varied roles that require flexibility in performance and an understanding of the characters and environments being portrayed.
In assessing the state of Jordanian drama, Hussein places the script at the forefront of the factors determining a production’s quality and success. He believes weak dramatic structure or superficial characters cannot be compensated for, regardless of an actor’s talent and experience. A well-crafted script forms the foundation for the director’s vision, shapes the characters and events, and determines a production’s ability to convince and influence viewers.
From this perspective, developing drama requires more than securing funding or increasing production. It calls for more profound subject matter, characters that reflect the complexities of human and social realities, and a working environment that respects artists and enables them to develop their skills.
Hussein also emphasizes the importance of continuous training, particularly in voice, movement, character development and working with the camera. Acting, he says, is a profession that requires knowledge, discipline and the ability to evolve, rather than relying on natural talent alone.
Hussein has a particular interest in historical drama, viewing it as a means of documenting national memory and introducing younger generations to key stages in the founding and development of the Jordanian state.
Speaking to Al-Ghad, he said historical productions require thorough research, strong scripts and artistic treatments that balance fidelity to historical facts with the demands of drama. History should not become a straightforward narration of events, he believes, but should instead be presented as a human story capable of engaging audiences and deepening their understanding of the past.
He also stresses that drama’s responsibilities cannot be separated from its social and cultural role. Productions should address issues that concern people and raise questions reflecting changes in society, without becoming overly direct or simplistic. In his view, an influential work presents convincing characters, gives viewers room to think and leaves an impact that extends beyond the viewing experience.
Hussein sees television drama as offering a broader platform for connecting with audiences and reaching different segments of society. However, he believes the value of an artistic experience depends not only on the medium through which it is presented, but also on its content, execution and ability to leave a lasting impression.
After a career filled with roles and varied experiences, Hussein views art as an ongoing journey of learning and work, rather than a destination an actor reaches and then stops pursuing. He does not look back on his previous choices with regret, believing that each stage has its own circumstances and that an artist’s continued contribution depends on developing their skills and remaining open to new experiences.
Hussein’s assessment of Jordanian drama ultimately points to a challenge that goes beyond producing more works: the need for more mature productions in terms of writing, performance and artistic vision. As his perspective suggests, the advancement of drama begins with respecting the idea and elevating its substance, and is completed through an integrated production process that gives talent the opportunity to flourish. Audiences, meanwhile, remain the final judge of a production’s authenticity and value.
Source: Al-Ghad. Reporting: Ahmad Al-Shawabkeh
