1

‫ﻛﻠﻤﺔ اﻟﻌﺪد‬
‫ﻫﺎ ﻫﻮ اﻟﻌﺪد اﻟﺜﺎﻧﻲ ﻣﻦ ﻣﺠﻠﺔ »ﻳﻠﻼّﻣﺴﺮح«‬
‫ﻳﻨﻄﻠﻖ ﺑﻌﺪ ﻣﺮﻭﺭ ﺳﺘﺔ ﺃﺷﻬﺮ ﻣﻦ ﺇﺻﺪﺍﺭ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ﻣﻊ ﻣﻄﻠﻊ ﻫﺬﺍ ﺍﻟﻌﺎﻡ‪ .‬ﻛﺎﻧﺖ ﺍﻟﺘﺠﺮﺑﺔ ﺍﻷﻭﻟﻰ ﻣﻮﻓﻘﺔ ﺗﻠﻘﻴﻨﺎ ﻋﻠﻰ ﺇﺛﺮﻫﺎ ﺍﻟﻌﺪﻳﺪ‬
‫ﻣﻦ ﺍﻟﺘﻌﻠﻴﻘﺎﺕ ﺍﻻﻳﺠﺎﺑﻴﺔ‪ ،‬ﺍﻻﻗﺘﺮﺍﺣﺎﺕ‪ ،‬ﻭﺍﻻﻧﺘﻘﺎﺩﺍﺕ‪ ،‬ﻭﻧﺤﻦ ﻧﻌﻠﻢ ﻣﻦ ﺻﻤﻴﻢ ﻗﻠﻮﺑﻨﺎ ﺑﺄﻥ ﺗﻠﻚ ﺍﻻﻧﺘﻘﺎﺩﺍﺕ ﻣﺎ ﻛﺎﻧﺖ ﺇﻻ ﺣﺮﺻﺎ ﻣﻦ‬
‫ﺍﻟﻘﺮﺍﺀ ﺍﻷﻋﺰﺍﺀ ﺣﺘﻰ ﺗﺨﺮﺝ ﺍ‪‬ﻠﺔ ﺑﺤﻠﺘﻬﺎ ﺍﳉﺪﻳﺪﺓ ﺃﺟﻤﻞ ﻭﺃﺭﻗﻰ ﻭﺃﻓﻀﻞ ﻣﻦ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ‪ ،‬ﻭﺃﻛﺜﺮ ﻓﺎﺋﺪﺓ‪ ،‬ﻟﺘﺘﻤﻜﻦ ﻣﻦ ﺇﻳﺼﺎﻝ ﺍﻟﺮﺳﺎﻟﺔ‬
‫ﻭﺟﺪﺕ ﻣﻦ ﺃﺟﻠﻬﺎ ﻭﻣﻦ ﺇﻳﺼﺎﻝ ﺻﻮﺕ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﺇﻟﻰ ﺃﻭﺳﻊ ﺷﺮﻳﺤﺔ ﻣﻦ ﺍﻟﻘﺮﺍﺀ ﻓﻲ ﺑﻠﺪﻧﺎ ﺍﳊﺒﻴﺐ‪ .‬ﻧﺘﻤﻨﻰ ﻣﻨﻜﻢ ﺗﺰﻭﻳﺪﻧﺎ‬ ‫ﹸ‬
‫ﺍﻟﺘﻲ ﺃ ﹺ‬
‫ﺑﺎﻗﺘﺮﺍﺣﺎﺗﻜﻢ ﻭﻣﻮﺍﺩﻛﻢ ﺍﻟﺘﻲ ﺗﻮﺩﻭﻥ ﻧﺸﺮﻫﺎ ﻓﻲ ﺍﻟﻌﺪﺩ ﺍﻟﻘﺎﺩﻡ ﻣﻦ ﻗﺼﺺ‪ ،‬ﺧﻮﺍﻃﺮ‪ ،‬ﻣﻘﺎﻻﺕ ﻣﺨﺘﻠﻔﺔ ﻓﻲ ﻛﺎﻓﺔ ﺍﳌﻮﺍﺿﻴﻊ‪ ،‬ﺭﺳﻮﻣﺎﺕ‪،‬‬
‫ﻣﻌﻠﻮﻣﺎﺕ ﻋﺎﻣﺔ ﻭﻏﻴﺮﻫﺎ‪.‬‬

‫ﺇﻥ ﻣﺠﻠﺔ »ﻳﻠ ﹼﻼ ﻣﺴﺮﺡ« ﻫﻲ ﻣﻨﻜﻢ ﻭﺇﻟﻴﻜﻢ‪ ،‬ﺗﺘﻴﺢ ﻟﻜﻢ ﻧﺸﺮ ﺇﺑﺪﺍﻋﺎﺗﻜﻢ ﻭﻣﺸﺎﺭﻛﺎﺗﻜﻢ ﻋﻠﻰ ﺟﻤﻬﻮﺭ ﻋﺮﻳﺾ ﻣﻦ ﺍﻟﻨﺎﺱ‪ ،‬ﺣﻴﺚ‬
‫ﻳﺘﻢ ﺗﻮﺯﻳﻊ ﺍ‪‬ﻠﺔ ﺍﻟﻜﺘﺮﻭﻧﻴﺎ ﺇﻟﻰ ﺃﻛﺜﺮ ﻣﻦ ﺃﻟﻒ ﺑﺮﻳﺪ ﺇﻟﻜﺘﺮﻭﻧﻲ‪ ،‬ﻭﺗﻮﺯﻳﻌﻬﺎ ﻣﻄﺒﻮﻋﺔ ﻋﻠﻰ ﻋﺪﺩ ﻛﺒﻴﺮ ﻣﻦ ﺍﳌﺆﺳﺴﺎﺕ ﻭﺍﳌﺮﺍﻛﺰ ﻓﻲ ﻛﺎﻓﺔ‬
‫ﻣﻨﺎﻃﻖ ﻣﺪﻳﻨﺔ ﺍﳋﻠﻴﻞ‪ ،‬ﻟﻴﻘﻮﻡ ﺍﻟﻘﺎﺭﺉ ﺑﺎﻟﺘﻌﺮﻑ ﺃﻛﺜﺮ ﻋﻠﻰ ﻧﺸﺎﻃﺎﺕ ﺍﳌﺴﺮﺡ ﻭﺍﳌﺸﺎﺭﻛﲔ ﻓﻲ ﺑﺮﺍﻣﺠﻪ ﺍ‪‬ﺘﻠﻔﺔ ﻭﻟﻴﻄﻠﻊ ﻋﻠﻰ ﺗﻠﻚ‬
‫ﺍﻟﻨﺸﺎﻃﺎﺕ ﻭﺍﻟﺒﺮﺍﻣﺞ ﻭﻋﻠﻰ ﺍﻟﻔﺮﺹ ﺍﳌﺘﺎﺣﺔ ﻟﺸﺮﺍﺋﺢ ﻣﺨﺘﻠﻔﺔ ﻟﻠﻤﺸﺎﺭﻛﺔ ﻓﻲ ﺑﻌﺾ ﺑﺮﺍﻣﺞ »ﻣﺴﺮﺡ ﻧﻌﻢ«‪.‬‬

‫ﻧﺮﺣﺐ ﲟﺸﺎﺭﻛﺎﺗﻜﻢ ﻋﻠﻰ ﺍﺧﺘﻼﻑ ﺃﻧﻮﺍﻋﻬﺎ ﻣﺘﻤﻨﲔ ﺩﻭﺍﻡ ﺍﻟﺘﻮﺍﺻﻞ ﻣﺎ ﺑﲔ ﺍﳌﺴﺮﺡ ﻭﺑﻴﻨﻜﻢ ﻟﻼﺭﺗﻘﺎﺀ ﺑﺎﻟﻔﻦ ﺍﳌﺴﺮﺣﻲ ﻭﺍﻟﺪﺭﺍﻣﻲ ﻋﻠﻰ‬
‫ﻣﺴﺘﻮﻯ ﺍﳌﺪﻳﻨﺔ ﺑﺸﻜﻞ ﺧﺎﺹ ﻭﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﻮﻃﻦ ﻭﺍﻟﻌﺎﻟﻢ ﺑﺸﻜﻞ ﻋﺎﻡ‪.‬‬

‫‪|Üä⁄<¯◊Ë‬‬
‫_‪Ì◊.]<ÏÜâ‬‬
‫ﺍﻟﺘﺤﺮﻳﺮ‬
‫ﺭﺍﺋﺪ ﺍﻟﺸﻴﻮﺧﻲ‬

‫ﺇﻋﺪﺍﺩ ﺍﻟﻄﺎﻗﻢ ﺍﻟﻔﻨﻲ‬

‫ﺇﻳﻬﺎﺏ ﺯﺍﻫﺪﺓ‪ ،‬ﻣﺤﻤﺪ ﺍﻟﻄﻴﻄﻲ ﻭﺳﻴﻔﺘﺎﺏ ﺃﻭﺯﻛﻮﺗﻠﻮ‬

‫ﺍﳌﺘﺎﺑﻌﺔ ﻭﺍﻟﺘﻨﺴﻴﻖ‬
‫ﻡ‪ .‬ﻣﺤﻤﺪ ﻋﻴﺴﻰ‬

‫ﺗﺼﻮﻳﺮ ﻓﺘﻮﻏﺮﺍﻓﻲ‬
‫ﻓﺮﻳﺪﻭ ﺑﺎﻫﺪ ‪ /‬ﻫﻤﺎﻡ ﻋﻤﺮﻭ‬

‫ﺍﻟﺘﺼﻤﻴﻢ ﻭﺍﻟﻄﺒﺎﻋﺔ‬
‫ﺑﻜﺴﻞ ﻟﻠﺘﺼﻤﻴﻢ ﻭﺍﻹﻋﻼﻥ )ﺷﺎﺩﻱ ﺍﺑﻮ ﻋﺠﻤﻴﺔ(‬
‫‪0599-315259 / 02-2211012‬‬

‫‪2‬‬
 ‫ﻣﻨﺼﺔ اﻟﺴﻼم اﻟﻌﺎﻟﻤﻲ واﻟﺨﻠﻴﻞ‬
‫ﻣﻨﺬ ﺍﻟﻌﺎﻡ ‪1968‬ﻡ ﲤﺘﻠﻚ ﻣﺆﺳﺴﺔ »ﻣﻨﺼﺔ ﺍﻟﺴﻼﻡ ﺍﻟﻌﺎﳌﻲ« ﻋﻼﻗﺎﺕ ﻭﺭﻭﺍﺑﻂ ﻗﻮﻳﺔ ﻣﻊ ﻓﻠﺴﻄﲔ ﻭﺍﻟﺸﻌﺐ ﺍﻟﻔﻠﺴﻄﻴﻨﻲ‪ ،‬ﺣﻴﺚ ﺗﺘﻀﺢ ﻫﺬﻩ ﺍﻟﻌﻼﻗﺔ‬
‫ﻣﻦ ﺧﻼﻝ ﺍﻟﺪﻋﻢ ﺍﳌﺴﺘﻤﺮ ﻟﻠﺘﻌﺎﻭﻧﻴﺔ ﺍﻟﻨﺴﻮﻳﺔ ﻭﺭﻭﺿﺔ ﺍﻷﻃﻔﺎﻝ ﻓﻲ ﻗﺮﻳﺘﻲ ﻛﻔﺮ ﻧﻌﻤﺔ ﻭﺑﻠﻌﲔ‪ .‬ﻓﻲ ﻋﺎﻡ ‪2004‬ﻡ ﻗﺮﺭﺕ ﻣﺆﺳﺴﺔ »ﻣﻨﺼﺔ ﺍﻟﺴﻼﻡ ﺍﻟﻌﺎﳌﻲ«‬
‫ﺍﻟﺘﻮﺳﻊ ﻓﻲ ﺃﻧﺸﻄﺘﻬﺎ ﻭﻣﺸﺎﺭﻳﻌﻬﺎ ﻟﺘﺸﻤﻞ ﻣﻨﺎﻃﻖ ﺟﻐﺮﺍﻓﻴﺔ ﺟﺪﻳﺪﺓ ﻓﻲ ﺍﻟﻀﻔﺔ ﺍﻟﻐﺮﺑﻴﺔ‪ ،‬ﺣﻴﺚ ﺑﺪﺃﺕ ﻣﻨﺼﺔ ﺍﻟﺴﻼﻡ ﻣﺸﺮﻭﻋﻬﺎ »ﺑﺮﻧﺎﻣﺞ ﻣﺪﺭﺑﻲ‬
‫ﺍﻟﺸﻮﺍﺭﻉ« ﻓﻲ ﺍﻟﺒﻠﺪﺓ ﺍﻟﻘﺪﳝﺔ ﻣﻦ ﻣﺪﻳﻨﺔ ﺍﳋﻠﻴﻞ ﻭﺍﻟﺬﻱ ﺭﻛﺰ ﻋﻠﻰ ﺍﻟﻌﻤﻞ ﻣﻊ ﺍﻟﺸﺒﺎﻥ ﺍﻟﺼﻐﺎﺭ ﻣﺎ ﺑﲔ ﺍﻟﻔﺌﺔ ﺍﻟﻌﻤﺮﻳﺔ ‪ 14‬ﻟـ ‪ 18‬ﻋﺎﻣﺎ ﹰ‪.‬‬
‫ﻓﻲ ﺍﻟﻌﺎﻡ ‪2006‬ﻡ ﰎ ﺍﻓﺘﺘﺎﺡ ﺑﻴﺖ ﺍﻟﺸﺒﺎﺏ »ﺑﻴﺖ ﺛﻘﺎﻓﺔ ﺍﻟﻼﻋﻨﻒ« ﻭﻇﻞ ﻳﻌﻤﻞ ﺣﺘﻰ ﻧﻬﺎﻳﺔ ﻋﺎﻡ ‪2009‬ﻡ ﻟﻴﻜﻮﻥ ﻣﺴﺎﺣﺔ ﺁﻣﻨﺔ ﻟﻠﺸﺒﺎﺏ ﻣﺎ ﺑﲔ ﺍﻟﻔﺌﺔ‬
‫ﺍﻟﻌﻤﺮﻳﺔ ‪ 18‬ﻟـ ‪25‬ﻋﺎﻣﺎ‪ .‬ﻓﻲ ﻫﺬﺍ ﺍﳌﺮﻛﺰ ﻟﻢ ﻳﻜﻦ ﺍﻟﺸﺒﺎﺏ ﻳﺸﺘﺮﻛﻮﻥ ﻓﻲ ﻧﺸﺎﻃﺎﺕ ﻓﻨﻴﺔ ﻭﺛﻘﺎﻓﻴﺔ ﻓﻘﻂ ﻭﻟﻜﻦ ﺍﻓﺘﺘﺢ ﺑﻴﺖ ﺍﻟﺸﺒﺎﺏ »ﺑﻴﺖ ﺍﻟﻼﻋﻨﻒ« ﺣﺘﻰ‬
‫ﻋﺎﻡ ‪ ،2009‬ﻟﻴﻜﻮﻥ ﻣﻜﺎﻧﺎ ﺁﻣﻨﺎ ﻟﻠﺸﺒﺎﺏ ﺑﲔ ‪ 18‬ﻟـ ‪ 25‬ﻋﺎﻣﺎ‪ .‬ﻟﻢ ﻳﻜﻦ ﻫﺬﺍ ﺍﳌﺮﻛﺰ ﻳﻘﺘﺼﺮ ﻋﻠﻰ ﻣﺸﺎﺭﻛﺔ ﺍﻟﺸﺒﺎﺏ ﻓﻲ ﺍﻷﻧﺸﻄﺔ ﺍﻟﻔﻨﻴﺔ ﻓﻘﻂ‪ ،‬ﻭﺇﳕﺎ ﺿﻢ‬
‫ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﻧﺸﻄﺔ ﺍﻟﺸﺒﺎﺑﻴﺔ ﺍﻟﺬﺍﺗﻴﺔ ﺍﻟﺘﻲ ﻗﺎﻡ ﺑﻬﺎ ﺍﻟﺸﺒﺎﺏ ﺍﳌﺸﺎﺭﻛﻮﻥ‪.‬‬

‫ﻧﻔﺘﺨﺮ ﺑﺎﻟﺘﻌﺎﻭﻥ ﺍﻟﺬﻱ ﰎ ﺑﻨﺎﺅﻩ ﺑﻴﻨﻨﺎ ﻭﺑﲔ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﻣﻨﺬ ﺍﻟﻌﺎﻡ ‪ ،2009‬ﻭﻫﻮ ﻭﺍﺣﺪ ﻣﻦ ﺇﺣﺪﻯ ﻋﺸﺮﺓ ﻣﺆﺳﺴﺔ ﻣﺴﺮﺣﻴﺔ ﻓﻲ ﻓﻠﺴﻄﲔ ﻓﻲ ﺍﻟﻀﻔﺔ‬
‫ﺍﻟﻐﺮﺑﻴﺔ‪ .‬ﻛﻨﺎ ﻧﻌﻠﻢ ﲤﺎﻣﺎ ﻣﻨﺬ ﺑﺪﺍﻳﺔ ﻋﻤﻠﻨﺎ ﻓﻲ ﻣﺪﻳﻨﺔ ﺍﳋﻠﻴﻞ ﻋﻦ ﺍﳌﻬﻨﻴﺔ ﻭﺍﻣﺘﻴﺎﺯ ﺍﻷﺩﺍﺀ ﺍﻟﺬﻱ ﺗﻘﻮﻡ ﺑﻪ ﻣﺆﺳﺴﺔ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﺑﻄﺎﻗﻤﻬﺎ‪ .‬ﻭﻛﻨﺎ ﻧﺴﺘﻔﻴﺪ‬
‫ﻣﻦ ﺧﺒﺮﺍﺗﻬﻢ ﻭﺧﺼﻮﺻﺎ ﺍﳋﺒﺮﺍﺕ ﺍﳌﺴﺮﺣﻴﺔ ﻓﻲ ﺗﺪﺭﻳﺐ ﺍﻷﻃﻔﺎﻝ ﺍﳌﺸﺎﺭﻛﲔ ﻓﻲ ﻣﺸﺎﺭﻳﻌﻨﺎ ﺍﻟﺴﺎﺑﻘﺔ‪.‬‬

‫ﻧﺄﻣﻞ ﻣﻦ ﺧﻼﻝ ﻣﺸﺮﻭﻉ »ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ« ﺑﻔﺘﺢ ﺃﺑﻮﺍﺏ ﺍﻟﺘﺪﺭﻳﺐ ﺍﳌﺴﺮﺣﻲ ﻭﺍﻟﺪﺭﺍﻣﻲ ﻭﺗﺄﻫﻴﻞ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺍﳌﺪﺭﺑﲔ ﺍﳉﺪﺩ ﻓﻲ ﻣﺠﺎﻝ ﺍﳌﺴﺮﺡ‪ .‬ﻭﻧﺨﻄﻂ‬
‫ﺣﺘﻰ ﻣﻨﺘﺼﻒ ﻋﺎﻡ ‪ 2012‬ﻷﻥ ﻧﻘﻮﻡ ﺑﺘﺄﻫﻴﻞ ‪ 45‬ﺷﺎﺑﺎ ﻭﺷﺎﺑﺔ‪ ،‬ﻟﻴﻘﻮﻣﻮﺍ ﲟﻤﺎﺭﺳﺔ ﻣﻌﺮﻓﺘﻬﻢ ﺍﳌﺴﺮﺣﻴﺔ ﺍﳌﻜﺘﺴﺒﺔ ﻓﻲ ﻋﻤﻠﻬﻢ ﻣﻊ ﺍﻷﻃﻔﺎﻝ ﻭﻣﻊ‬
‫ﺍﳌﺆﺳﺴﺎﺕ ﺍﻷﻫﻠﻴﺔ ﺍﶈﻠﻴﺔ‪ .‬ﻭﺳﻴﺘﻢ ﻓﺘﺢ ﻣﺠﺎﻝ ﺗﺪﺭﻳﺐ ﻟﻠﻤﺘﺪﺭﺑﲔ ﺍﳌﻤﻴﺰﻳﻦ ﻏﺎﻟﺒﺎ ﻟﺪﻭﺭﺍﺕ ﺗﺄﻫﻴﻞ ﻟﻠﺘﻤﺜﻴﻞ ﺍﳌﺴﺮﺣﻲ ﻟﺘﻤﻜﻨﻬﻢ ﻣﻦ ﺃﻥ ﻳﺼﺒﺤﻮﺍ ﳑﺜﻠﲔ‬
‫ﻣﺴﺘﻘﺒﻠﻴﲔ‪ .‬ﺑﺘﻠﻚ ﺍﻟﻄﺮﻳﻘﺔ ﺳﻴﻘﻮﻣﻮﻥ ﺑﺎﳌﺸﺎﺭﻛﺔ ﻓﻲ ﺍﻟﻌﻤﻞ ﺍ‪‬ﺘﻤﻌﻲ ﻭﺍﻟﻔﻨﻲ ﻓﻲ ﻣﺪﻳﻨﺔ ﺍﳋﻠﻴﻞ‪ .‬ﻭﺳﺘﻔﺘﺘﺢ ﻗﺮﻳﺒﺎ ﻓﻲ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﻣﻜﺘﺒﺔ ﻟﻠﻌﺎﻣﺔ‬
‫ﻣﺘﺨﺼﺼﺔ ﻓﻲ ﺍﳌﺴﺮﺡ ﻭﺍﻟﻌﻤﻞ ﺍﻟﺪﺭﺍﻣﻲ‪.‬‬

‫ﻛﻠﻤﺔ ﺧﺎﺻﺔ ﻋﻦ ﻣﺪﻳﻨﺔ ﺍﳋﻠﻴﻞ‪:‬‬

‫ﻟﻢ ﺃﺟﺪ ﻓﻲ ﺃﻱ ﻣﺪﻳﻨﺔ ﺃﺧﺮﻯ ﻓﻲ ﺍﻟﻀﻔﺔ ﺍﻟﻐﺮﺑﻴﺔ ﺳﻮﻯ ﺍﳋﻠﻴﻞ ﺃﻧﺎﺳﺎ ﻣﻬﺘﻤﲔ ﺑﺄﻓﻜﺎﺭ ﻭﻣﻨﺎﻫﺞ ﺟﺪﻳﺪﺓ‪ ،‬ﺃﻫﻞ ﻣﺪﻳﻨﺔ ﺍﳋﻠﻴﻞ ﻭﺩﻭﺩﻭﻥ ﻭﻳﺤﺒﻮﻥ ﺍﻟﺘﻌﺮﻑ‬
‫ﻭﻣﻘﺎﺑﻠﺔ ﺃﻧﺎﺱ ﻣﻦ ﺍﳋﺎﺭﺝ‪ ،‬ﻭﺗﻐﻠﺐ ﻋﻠﻴﻬﻢ ﺻﻔﺔ ﺍﳌﺴﺎﻋﺪﺓ ﻭﺍﻟﺪﻋﻢ ﻟﻶﺧﺮﻳﻦ‪ .‬ﻣﺪﻳﻨﺔ ﺍﳋﻠﻴﻞ ﺗﺘﻤﺘﻊ ﺑﺠﻤﺎﻟﻬﺎ ﺍﳋﺎﺹ‪ ،‬ﻭﻳﻌﺠﺒﻨﻲ ﻓﻲ ﺃﻫﻠﻬﺎ ﺍﻷﻫﻤﻴﺔ ﺍﻟﺘﻲ‬
‫ﻳﻌﻄﻮﻧﻬﺎ ﻟﻠﺤﻴﺎﺓ ﺍﻟﻌﺎﺋﻠﻴﺔ ﻭﻛﺮﻣﻬﻢ‪ .‬ﺃﺳﺘﻄﻴﻊ ﺃﻥ ﺃﻗﻮﻝ ﺑﺄﻥ ﺍﳋﻠﻴﻞ ﺑﻌﺪ‪ 4‬ﺳﻨﻮﺍﺕ ﻣﻦ ﺍﻟﻌﻤﻞ ﻓﻴﻬﺎ ﺃﺻﺒﺤﺖ ﻟﻲ ﻣﺜﻞ ﺍﳌﻨﺰﻝ ﻭﺍﻟﻮﻃﻦ‪ .‬ﻭﺃﲤﻨﻰ ﺃﻥ ﺗﺴﺘﻤﺮ‬
‫»ﻣﻨﺼﺔ ﺍﻟﺴﻼﻡ ﺍﻟﻌﺎﳌﻲ« ﺑﺎﻟﻌﻤﻞ ﻫﻨﺎ ﺑﻌﺪ ﺍﻧﺘﻬﺎﺀ ﻣﺮﺣﻠﺔ ﺍﳌﺸﺮﻭﻉ ﺍﳊﺎﻟﻲ ﺍﻟﺬﻱ ﻳﻨﺘﻬﻲ ﻓﻲ ﻳﻮﻟﻴﻮ‪2012‬ﻡ‪.‬‬

‫ﺃﻭﻟﻲ ﺗﺸﻴﺰﻝ‬
‫ﳑﺜﻠﺔ ‪ WFD‬ﻓﻲ ﻓﻠﺴﻄﲔ‬

‫‪3‬‬
 ‫ﻗﺪس‬
‫ُ‬ ‫ﻳﺎ‬

‫ﺍﻟﻘﺪﺱ‬
‫ﹶ‬ ‫ﺒﺖ‬
‫ﺳﻠﹺ ﹸ‬‫ﺍﻟﻈﻠﻢ‪ ...‬ﺃﻳﻘﻨﺖ ﻣﻌﻨﻰ ﺍﻟﻌﺪﻝ‪ ،‬ﺣﲔ ﻟﻔﻨﻲ ﺍﻟﻈﻼ ﹸﻡ‪ ...‬ﺃﻳﻘﻨﺖ ﻣﻌﻨﻰ ﺍﻟﻨﻮﺭ‪ ،‬ﺣﲔ ﻋﺎﻧﻴﺖ ﺍﻟﻔﺮﺍﻕﹶ‪ ...‬ﺃﻳﻘﻨﺖ ﻟ ﱠﺬﺓ ﺍﻟﻠﻘﺎﺀ‪ ،‬ﻭﺣﲔ ﹸ‬ ‫ﹶ‬ ‫ﺫﻗﺖ‬
‫ﺣﲔ ﹸ‬
‫ﻳﺪﻳﻚ‪ ،‬ﻣﺎ‬
‫ﹺ‬ ‫ﺍﻟﻌﺸﻖ ﻋﻠﻰ ﺷﻔﺘﻲ‪ ،‬ﻳﺎ ﺻﺎﻧﻌﺘﻲ ﻳﺎ ﻗﺎﺗﻠﺘﻲ‪ ،‬ﻣﺎ ﺃﺟﻤﻞ ﺍﳊﻴﺎﺓ ﺑﲔ‬ ‫ﹸ‬ ‫ﹰ‬
‫ﻭﺍﻟﺸﻤﺲ ﻭﺍﻟﻠﻘﺎ ﹶﺀ ﻣﻌﺎ‪ ...‬ﻳﺎ ﻣﻠﻬﻤﺘﻲ‪ ،‬ﻳﺎ ﻗﺒﻠﺔ‬ ‫ﹶ‬ ‫ﹶ‬
‫ﺳﻠﺐ ﺍﻟﻌﺪﻝ‬ ‫ﹶ‬ ‫ﹸ‬ ‫ﺃﺩﺭﻛﺖ ﻣﻌﻨﻰ ﺃﻥ ﺃ‬
‫ﹺ‬
‫ﻛﻞ ﻧﺒﻀ ﹴﺔ ﻣﻦ ﻗﻠﺒﻲ‬ ‫ﺗﺎﺝ ﺭﺃﺳﻲ‪ ،‬ﺃﻧﺎ ﻳﺎ ﱠ‬ ‫ﻳﺪﻳﻚ ‪ ...‬ﺃﻧﺎ ﻳﺎ ﻏﺎﻟﻴﺘﻲ‪ ،‬ﺃﻧﺎ ﻳﺎ ﹶ‬
‫ﹺ‬ ‫ﺑﲔ‬ ‫ﺍﻷﺑﻮﺍﺏ‬
‫ﹺ‬ ‫ﻋﻠﻰ‬ ‫ﺧﺎﻓﻘﻲ‬ ‫ﻳﺨﻔﻖ‬ ‫ﻭﻻ‬ ‫‪،‬‬ ‫ﺇﻟﻴﻚ‬
‫ﹺ‬ ‫ﺃﻫﻔﻮ‬ ‫ﻻ‬ ‫‪،‬‬‫ﺃﺣﺒﻚ‬
‫ﹺ‬ ‫ﻻ‬ ‫‪...‬‬ ‫ﻳﺪﻳﻚ‬
‫ﹺ‬ ‫ﺃﺟﻤﻞ ﺍﳌﻮﺕ ﻓﻮﻕ‬
‫ﺣﺮﻑ ﻣﻦ‬ ‫ﹴ‬ ‫ﻋﻴﻨﻴﻚ ‪ ...‬ﻭﺃﺫﻭﻱ ﺣﺒﺎ ﹰ ﻭﻏﺮﺍﻣﺎ ﻓﻲ ﻛﻞ‬
‫ﹺ‬ ‫ﻣﺤﺮﺍﺏ‬
‫ﹺ‬ ‫ﺇﻟﻴﻚ‪ ،‬ﺃﻧﺎ ﺃﺧﺸﻊ ﻓﻲ‬ ‫ﻭﻳﺮﻭﺡ ﹺ‬
‫ﹸ‬ ‫ﻣﻨﻚ‬
‫ﺃﺫﻭﺏ ﻋﺸﻘﺎ ﻓﻲ ﺍﻟﻬﻮﺍﺀ ﺍﻟﺬﻱ ﻳﺠﻲ ﹸﺀ ﹺ‬ ‫ﻭﻛﻞ ﺯﻓﺮ ﹴﺓ ﻣﻦ ﺻﺪﺭﻱ ‪ ...‬ﺃﻧﺎ ﹸ‬ ‫ﱠ‬
‫ﺮﻭ‬
‫ﱠ ﹺ‬ ‫ﺍﻟﺴ‬ ‫ﻓﻮﻕ‬ ‫ﺍﻧﺘﺤﺮﺕ‬ ‫ﺍﻟﺘﻲ‬ ‫ﺍﳌﻤﺎﻟﻚ‬ ‫ﺔ‬
‫ﹺ‬ ‫ﺑﺮﺍﺋﺤ‬ ‫ﺓ‬
‫ﹴ‬ ‫ﻣﻌﻄﺮ‬ ‫ﺯﻭﺍﻳﺎﻙ‬
‫ﹺ‬ ‫ﻣﻦ‬ ‫ﺔ‬
‫ﹴ‬ ‫ﺯﺍﻭﻳ‬ ‫ﻓﻲ‬ ‫ﻗﺒﺮ‬
‫ﹶ ﹴ‬ ‫ﺪ‬ ‫ﺷﺎﻫ‬ ‫ﻷﻛﻮﻥ‬ ‫ﻭﺷﻮﻗﺎ‬ ‫ﹰ‬ ‫ﺎ‬ ‫ﻭﻋﺸﻘ‬ ‫ﹰ‬ ‫ﺎ‬ ‫ﻭﻟﻬ‬ ‫ﺃﺫﻭﺏ‬ ‫‪،‬‬‫ﹾ‬ ‫ﺩ‬ ‫ﻭﺍﻟﺒﻼ‬ ‫ﺍﳌﺪﻥ‬
‫ﹺ‬ ‫ﹶ‬
‫ﺓ‬ ‫ﺳﻴﺪ‬ ‫ﻳﺎ‬ ‫ﺍﺳﻤﻚ‬
‫ﹺ‬ ‫ﺣﺮﻭﻑ‬
‫ﻗﺒﺎﺏ‪ ،‬ﺩﻻ ﹲﻝ‬
‫ﹲ‬ ‫ﲢﺮﺳﻬﺎ‪،‬‬
‫ﹸ‬ ‫ﻗﺎﻑ‪ ..‬ﺩﺍ ﹲﻝ‪ ..‬ﻭﺍﻟﺴ ﹸ‬
‫ﲔ‬ ‫ﻭﺍﻻﺳﻢ‪ ...‬ﹲ‬
‫ﹸ‬ ‫ﻭﺍﻟﺮﺳﻢ ﻭﺍﻟﻠﻮ ﹸﻥ‬
‫ﹸ‬ ‫ﹸ‬
‫ﺍﳊﺮﻑ‬ ‫ﻟﻚ‬
‫ﺷﺪﻭﺕ‪ ،‬ﹺ‬
‫ﹸ‬ ‫ﺯﻟﻐﻂ ﺍﻟﻠﺴﺎ ﹸﻥ ﺣﲔ‬ ‫ﹶ‬ ‫ﻏﻨﻴﺖ ﻭﻟﻚ‬
‫ﹸ‬ ‫ﻟﻚ‬
‫ﺮﺕ‪ ،‬ﹺ‬ ‫ﺑﺸ ﹸ‬ ‫ﺑﻚ ﱠ‬ ‫ﻭﻓﻮ ﹶﻕ ﹼ‬
‫ﺍﻟﺴﻮﺭ ﹺ ‪ ...‬ﹺ‬
‫ﺍﻟﻘﺪﺱ ﻭﻋﻠﻰ ﺍﻟﺪﻧﻴﺎ ﺍﻟﺴﻼ ﹸﻡ ‪...‬‬‫ﹸ‬ ‫ﻭﺍﻟﺴﻨﻮﻧﻮﺍﺕ ﺗﺴﻜﻨﻬﺎ‪ ...‬ﻓﻘﻮﻣﻲ ﻳﺎ ﻗﻴﺎﻣﺔ ﺍﻟﺪﻧﻴﺎ ﺇﻥ ﻟﻢ ﺗﻌﺪ‬ ‫ﹸ‬ ‫ﻋﻠﻰ ﺍﻟﺴﻮﺭ ﹺ ﺃﻋ ﹸﻴﻨﹸﻬﺎ‪ ..‬ﻗﻔﺎﺭﹲ‪ ،‬ﺩﻳﺎﺭﹲ‬
‫ﺭﺍﺋﺪ ﺍﻟﺸﻴﻮﺧﻲ‬
‫ﻋﻀﻮ ﺍﻟﻄﺎﻗﻢ ﺍﻟﻔﻨﻲ ﻓﻲ »ﻣﺴﺮﺡ ﻧﻌﻢ«‬

‫ﺇﻋﺮﻑ ﺃﻛﺜﺮ ﻋﻦ ﺍﳋﻠﻴﻞ‬

‫ﺇﻟﻴﻜﻢ ﺃﻋﺰﺍﺋﻲ ﺍﻟﻘﺮﺍﺀ ﺃﺳﻤﺎﺀ ﺑﻌﺾ ﺍﳌﻨﺎﻃﻖ ﻭﺍﻟﺸﻮﺍﺭﻉ ﻓﻲ ﻣﺪﻳﻨﺔ ﺍﳋﻠﻴﻞ‪ :‬ﻋﲔ ﺳﺎﺭﺓ ﺍﻟﺸﺎﺭﻉ ﺍﻟﺮﺋﻴﺴﻲ ﻓﻲ ﺍﳌﺪﻳﻨﺔ‪ ،‬ﺑﺎﺏ ﺍﻟﺰﺍﻭﻳﺔ )ﻣﺮﻛﺰ ﺍﳌﺪﻳﻨﺔ(‪ .‬ﺭﺍﺱ ﺍﳉﻮﺭﺓ‬
‫)ﻣﺪﺧﻞ ﺍﳌﺪﻳﻨﺔ(‪ ،‬ﺍﳉﻮﺯﺍﺕ‪ ،‬ﺣﺎﺭﺓ ﺍﻟﺸﻴﺦ‪ ،‬ﺣﺎﺭﺓ ﺃﺑﻮ ﺍﺳﻨﻴﻨﺔ‪ ،‬ﺣﺎﺭﺓ ﺟﺎﺑﺮ‪ ،‬ﺣﺎﺭﺓ ﺍﳉﻌﺒﺮﻱ )ﺍ‪‬ﺎﻭﺭﺓ ﻟﻠﺤﺮﻡ ﺍﻹﺑﺮﺍﻫﻴﻤﻲ ﺍﻟﺴﻠﻴﺐ(‪ ،‬ﺧﻠﺔ ﺃﺑﻮ ﻣﺠﻨﻮﻧﺔ‪ ،‬ﺣﺒﺎﻳﻞ‬
‫ﺍﻟﺮﻳﺎﺡ‪ ،‬ﺷﺎﺭﻉ ﺍﻟﺴﻼﻡ‪ ،‬ﳕﺮﺓ‪ ،‬ﺍﳊﺎﻭﻭﺯ ﺍﻷﻭﻝ‪ ،‬ﺍﳊﺎﻭﻭﺯ ﺍﻟﺜﺎﻧﻲ‪ ،‬ﻭﺍﺩﻱ ﺍﻟﻬﺮﻳﺔ‪ ،‬ﺣﺎﺭﺓ ﺍﻟﻘﺰﺍﺯﻳﻦ‪ ،‬ﺍﻟﺸﻼﻟﺔ‪ ،‬ﺍﶈﺎﻭﺭ‪ ،‬ﺟﺒﻞ ﺟﻮﻫﺮ‪ ،‬ﺍﻟﻜﺮﻧﺘﻴﻨﻪ‪ ،‬ﹸﻗ ﱡﺐ ﺍﳉﺎﻧﺐ‪ ،‬ﺷﺎﺭﻉ ﺍﻟﺸﻬﺪﺍﺀ‪،‬‬
‫ﻗﻴﺰﻭﻥ‪ ،‬ﺍﻟﺸﻌﺎﺑﺔ‪ ،‬ﻓﺮﺵ ﺍﻟﻬﻮﻯ‪ ،‬ﺍﳉﻠﺪﺓ‪ ،‬ﻗﺮﻥ ﺍﻟﺜﻮﺭ‪ ،‬ﻭﺍﺩﻱ ﺍﻟﺘﻔﺎﺡ ﺍﻟﻘﺪﱘ‪ ،‬ﻭﺍﺩﻱ ﺍﻟﺘﻔﺎﺡ ﺍﳉﺪﻳﺪ‪ ،‬ﺑﺌﺮ ﺍﳊﻤﺺ‪ ،‬ﺿﺎﺣﻴﺔ ﺍﻟﺮﺍﻣﺔ‪ ،‬ﺧﻠﺔ ﺣﺎﺿﻮﺭ‪ ،‬ﺧﻠﺔ ﺑﻄﺮﺥ‪ ،‬ﺷﺎﺭﻉ‬
‫ﺍﳌﺪﺍﺭﺱ‪ ،‬ﺷﺎﺭﻉ ﺍﻟﻌﺪﻝ‪ ،‬ﺍﳊﺮﺱ )ﻭﺑﻬﺎ ﻣﺮﻛﺰﺍ ﻟﻠﺸﺮﻃﺔ(‪ ،‬ﺍﻟﻔﺤﺺ )ﺍﳌﻨﻄﻘﺔ ﺍﻟﺼﻨﺎﻋﻴﺔ(‪ ،‬ﺿﺎﺣﻴﺔ ﺍﻟﺰﻳﺘﻮﻥ‪ ،‬ﺿﺎﺣﻴﺔ ﺇﺳﻜﺎﻥ ﺍﻟﺒﻠﺪﻳﺔ‪ ،‬ﺳﻮﻕ ﺍﻟﻠﱭ‪ ،‬ﻋﻴﺼﻰ‪،‬‬
‫ﺳﻨﺠﺮ‪ ،‬ﻭﺍﺩﻱ ﺍﳉﻮﺯ‪ ،‬ﻧﻨﻘﺮ‪ ،‬ﺟﺒﻞ ﺍﻟﺸﺮﻳﻒ‪ ،‬ﺟﺒﻞ ﺍﻟﺴﻨﺪﺍﺱ‪ ،‬ﺑﺌﺮ ﺍﶈﺠﺮ‪ ،‬ﻭﺍﺩﻱ ﺃﺑﻮ ﺍﻛﺘﻴﻠﺔ‪ ،‬ﺟﺒﻞ ﺍﳉﻨﻴﺪﻱ‪ ،‬ﺗﻞ ﺍﻟﺮﻣﻴﺪﺓ )ﻣﻨﻄﻘﺔ ﺍﺛﺮﻳﺔ ﺑﻬﺎ ﺑﺆﺭﺓ ﺍﺳﺘﻴﻄﺎﻧﻴﺔ(‪،‬‬
‫ﺣﻲ ﺍﳉﺎﻣﻌﺔ )ﺟﺎﻣﻌﺔ ﺍﳋﻠﻴﻞ(‪.‬‬
‫ﺃﺳﻤﺎﺀ ﺑﻌﺾ ﺍﻷﺳﻮﺍﻕ ﻓﻲ ﺍﳌﺪﻳﻨﺔ‪ :‬ﺳﻮﻕ ﺍﻟﺴﻜﺎﻓﻴﺔ‪ ،‬ﺳﻮﻕ ﺍﻟﻠﱭ‪ ،‬ﺳﻮﻕ ﺍﳋﻀﺎﺭ ﺍﳌﺮﻛﺰﻱ‪ ،‬ﺳﻮﻕ ﺧﺎﻥ ﺷﺎﻫﲔ‪ ،‬ﺳﻮﻕ ﺍﻟﻘﺰﺍﺯﻳﻦ‪ ،‬ﺳﻮﻕ ﺧﺰﻕ ﺍﻟﻔﺎﺭ‪ ،‬ﺳﻮﻕ‬
‫ﺍﻟﺴﻬﻠﺔ »ﺍﳊﺮﻡ ﺍﻹﺑﺮﺍﻫﻴﻤﻲ ﺍﻟﺸﺮﻳﻒ«‪ ،‬ﺳﻮﻕ ﺍﻟﺰﺍﻫﺪ‪ ،‬ﺳﻮﻕ ﺍﻟﺸﻼﻟﺔ ﺍﻟﻘﺪﱘ‪ ،‬ﺳﻮﻕ ﺍﻟﺬﻫﺐ‪ ،‬ﺳﻮﻕ ﺍﻟﺸﻼﻟﺔ ﺍﳉﺪﻳﺪ‪ ،‬ﺳﻮﻕ ﺍﻟﺸﻬﺪﺍﺀ‪.‬‬
‫ﺍﳉﺎﻣﻌﺎﺕ ﻭﺍﻟﻜﻠﻴﺎﺕ ﻭﺍﳌﻌﺎﻫﺪ‪ :‬ﺟﺎﻣﻌﺔ ﺍﳋﻠﻴﻞ‪ ،‬ﺟﺎﻣﻌﺔ ﺑﻮﻟﺘﻜﻨﻴﻚ ﻓﻠﺴﻄﲔ‪ ،‬ﻛﻠﻴﺔ ﺍﻟﻌﺮﻭﺏ ﺍﻟﺘﻘﻨﻴﺔ )ﺍﻟﻌﺮﻭﺏ(‪ ،‬ﻭﺟﺎﻣﻌﺔ ﺍﻟﻘﺪﺱ ﺍﳌﻔﺘﻮﺣﺔ‪.‬‬
‫ﺍﳌﺴﺘﺸﻔﻴﺎﺕ‪ :‬ﻣﺴﺘﺸﻔﻰ ﺍﻷﻣﻴﺮﺓ ﻋﺎﻟﻴﺔ )ﻣﺴﺘﺸﻔﻰ ﺣﻜﻮﻣﻲ(‪ ،‬ﺍﳌﺴﺘﺸﻔﻰ ﺍﻷﻫﻠﻲ )ﺗﺎﺑﻊ ﳉﻤﻌﻴﺔ ﺃﺻﺪﻗﺎﺀ ﺍﳌﺮﻳﺾ(‪ ،‬ﻣﺴﺘﺸﻔﻰ ﺍﳌﻴﺰﺍﻥ ﺍﻟﺘﺨﺼﺼﻲ‪،‬‬
‫ﻣﺴﺘﺸﻔﻰ ﻣﺤﻤﺪ ﻋﻠﻲ ﺍﶈﺘﺴﺐ‪ ،‬ﻣﺴﺘﺸﻔﻰ »ﺳﺎﻥ ﺟﻮﻥ« ﻟﻠﻌﻴﻮﻥ‪ ،‬ﻣﺴﺘﺸﻔﻰ‬
‫ﺷﻬﻴﺮﺓ ﻟﻠﻮﻻﺩﺓ ﻭﻣﺴﺘﺸﻔﻰ ﺍﻟﺰﻋﺘﺮﻱ ﻟﻠﻮﻻﺩﺓ )ﺣﻠﺤﻮﻝ(‪ ،‬ﻭﻣﺴﺘﺸﻔﻰ ﺍﻟﻬﻼﻝ‬
‫ﺍﻷﺣﻤﺮ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻌﻴﺎﺩﺍﺕ ﺍﻟﺼﺤﻴﺔ ﻭﻋﺪﺩﻫﺎ ﻓﻲ ﺍﶈﺎﻓﻈﺔ‬
‫ﺣﻮﺍﻟﻲ ‪ 37‬ﻋﻴﺎﺩﺓ‪.‬‬
‫ﺍﳉﻤﻌﻴﺎﺕ ﻭﺃﻫﻤﻬﺎ‪ :‬ﺟﻤﻌﻴﺔ ﺍﻟﻬﻼﻝ ﺍﻷﺣﻤﺮ‪ ،‬ﺍﳉﻤﻌﻴﺔ ﺍﳋﻴﺮﻳﺔ ﺍﻹﺳﻼﻣﻴﺔ‪،‬‬
‫ﺟﻤﻌﻴﺔ ﺍﻟﺸﺒﺎﻥ ﺍﳌﺴﻠﻤﲔ‪ ،‬ﺟﻤﻌﻴﺔ ﺍﻹﺣﺴﺎﻥ‪ ،‬ﺟﻤﻌﻴﺔ ﺳﻴﺪﺍﺕ ﺍﳋﻠﻴﻞ‪ ،‬ﺟﻤﻌﻴﺔ‬
‫ﺍﻟﺼﻢ ﻭﺍﻟﺒﻜﻢ‪ ،‬ﺟﻤﻌﻴﺔ ﺍﳌﻜﻔﻮﻓﲔ‪.‬‬
‫ﺍﻟﺒﻠﺪﺓ ﺍﻟﻘﺪﳝﺔ ‪ -‬ﺗﻘﻊ ﺍﻟﺒﻠﺪﺓ ﺍﻟﻘﺪﳝﺔ ﲟﺤﺎﺫﺍﺓ ﺍﳊﺮﻡ ﺍﻹﺑﺮﺍﻫﻴﻤﻲ ﺍﻟﺸﺮﻳﻒ‪.‬‬
‫ﻭﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻦ ﺃﺯﻗﺔ ﻭﺑﻴﻮﺕ ﻭﺩﻛﺎﻛﲔ ﻗﺪﳝﺔ‪ ،‬ﲢﻮﻱ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻷﺳﻮﺍﻕ‪ .‬ﻓﻲ‬
‫‪ 12‬ﺃﻏﺴﻄﺲ ‪ 1996‬ﰎ ﺇﻧﺸﺎﺀ ﳉﻨﺔ ﺇﻋﻤﺎﺭ ﺍﳋﻠﻴﻞ ﲟﻮﺟﺐ ﻣﺮﺳﻮﻡ ﺭﺋﺎﺳﻲ ﻣﻦ‬
‫ﺍﻟﺮﺋﻴﺲ ﺍﻟﺮﺍﺣﻞ ﻳﺎﺳﺮ ﻋﺮﻓﺎﺕ‪ .‬ﻭﻗﺪ ﻗﺎﻣﺖ ﺍﻟﻠﺠﻨﺔ ﺑﺘﺮﻣﻴﻢ ﺍﳌﺒﺎﻧﻲ ﺍﻟﺴﻜﻨﻴﺔ‬
‫ﺍﻟﻘﺪﳝﺔ ﻭﺍﶈﻼﺕ ﻭﺇﻋﺎﺩﺓ ﺗﺮﻣﻴﻢ ﺍﻟﺒﻨﻴﺔ ﺍﻟﺘﺤﺘﻴﺔ ﻟﻠﺒﻠﺪﺓ ﺍﻟﻘﺪﳝﺔ‪.‬‬

‫‪4‬‬
 ‫ﺣﻜﻤـــﺔ ﺍﻟﻌـــﺪﺩ‬
‫ﻛﺎﻧﺖ ﺍﻟﺒﻄﺔ ﺗﺘﺤﺪﺙ ﻣﻊ ﺍﻟﺜﻮﺭ ﻓﻘﺎﻟﺖ ﻟﻪ‪:‬‬
‫"ﻟﻴﺘﻨﻲ ﺍﺳﺘﻄﻴﻊ ﺑﻠﻮﻍ ﺃﻋﻠﻰ ﻫﺬﻩ ﺍﻟﺼﺨﺮﺓ"‪.‬‬

‫ﻟﻚ ﺑﻌﺾ ﺍﻟ ﹼﺮﻭﺙ ﺣﺘﻰ‬ ‫"ﻭﻟﻢ ﻻ؟" ﺃﺟﺎﺏ ﺍﻟﺜﻮﺭ‪ ،‬ﳝﻜﻨﻨﻲ ﺃﻥ ﺃﺿﻊ ﹺ‬
‫ﻳﺴﺎﻋﺪﻙ ﻋﻠﻰ ﺍﻟﺼﻌﻮﺩ‪ .‬ﻭﻫﻜﺬﺍ ﻛﺎﻥ ‪ ...‬ﻓﻲ ﺍﻟﻴﻮﻡ ﺍﻷﻭﻝ‪ ،‬ﺳﻜﺐ‬
‫ﺍﻟﺜﻮﺭ ﺭﻭﺛﻪ ﺑﺠﻮﺍﺭ ﺍﻟﺼﺨﺮﺓ‪ ،‬ﻓﺘﻤﻜﻨﺖ ﺍﻟﺒﻄﺔ ﻣﻦ ﺑﻠﻮﻍ ﺛﻠﺜﻬﺎ‪ .‬ﻭﻓﻲ‬
‫ﺍﻟﻴﻮﻡ ﺍﻟﺜﺎﻧﻲ‪ ،‬ﺣﺜﺎ ﺍﻟﺜﻮﺭ ﺭﻭﺛﻪ ﻓﻲ ﻧﻔﺲ ﺍﳌﻜﺎﻥ ﻓﺎﺳﺘﻄﺎﻋﺖ ﺍﻟﺒﻄﺔ‬
‫ﺍﻟﻮﺻﻮﻝ ﻟﺜﻠﺜﻲ ﺍﻟﺼﺨﺮﺓ‪ .‬ﻭﻓﻲ ﺍﻟﻴﻮﻡ ﺍﻟﺜﺎﻟﺚ‪ ،‬ﻛﺎﻧﺖ ﻛﻮﻣﺔ ﺍﻟﺮﻭﺙ ﻗﺪ ﺣﺎﺫﺕ‬
‫ﻗﻤﺔ ﺍﻟﺼﺨﺮﺓ ‪ ...‬ﺳﺎﺭﻋﺖ ﺍﻟﺒﻄﺔ ﻟﻠﺼﻌﻮﺩ‪ ،‬ﻭﻣﺎ ﺃﻥ ﻭﺿﻌﺖ ﻗﺪﻣﻬﺎ ﻋﻠﻰ‬
‫ﻗﻤﺔ ﺍﻟﺼﺨﺮﺓ ﺣﺘﻰ ﺷﺎﻫﺪﻫﺎ ﺻﻴﺎ ﹲﺩ ﻓﺄﺭﺩﺍﻫﺎ ‪...‬‬

‫ﻣﻐﺰﻯ ﺍﻟﻘﺼﺔ‬
‫ﳝﻜﻦ ﻟﻠﻘﺬﺍﺭﺓ ﺃﻥ ﺗﺼﻌﺪ ﺑﻚ ﺇﻟﻰ ﺍﻷﻋﻠﻰ ‪ ...‬ﻭﻟﻜﻨﻬﺎ ﻟﻦ ﺗﺒﻘﻴﻚ ﻃﻮﻳﻼﹰ‬
‫ﻫﻨﺎﻙ‪.‬‬

‫ﻓﻴﻤﺎ ﻳﺄﺗﻲ ﺃﻫﻢ ﺍﻷﻧﺸﻄﺔ ﺍﻟﺘﻲ ﻧﻔﺬﻫﺎ ﻣﺴﺮﺡ ﻧﻌﻢ ﺧﻼﻝ ﺍﻟﻨﺼﻒ ﺍﻷﻭﻝ ﻣﻦ ﻫﺬﺍ ﺍﻟﻌﺎﻡ ‪:‬‬

‫أﺧـﺒـﺎرُﻧـﺎ‬
‫ﻣﻊ ﺑﺪﺍﻳﺔ ﺍﻟﻌﺎﻡ ‪ 2010‬ﺑﺪﺃ ﻣﺴﺮﺡ ﻧﻌﻢ ﺑﺎﻟﺘﺤﻀﻴﺮ ﻟﻺﻧﺘﺎﺝ ﺍﳌﺴﺮﺣﻲ ﺍﳉﺪﻳﺪ »ﻣﻦ ﺍﳌﻤﺜﻞ ﻟﻠﻄﺎﻟﺐ«‪ ،‬ﻭﻗﺪ ﻛﺎﻧﺖ ﻧﺘﻴﺠﺘﻪ ﺧﺮﻭﺝ‬ ‫•‬
‫ﻣﺴﺮﺣﻴﺔ »ﻧﻔﺲ ﺍﳌﺸﻜﻠﺔ« ﻟﻠﻨﻮﺭ‪ ،‬ﻭﺗﻘﺪﱘ ‪ 44‬ﻋﺮﺽ ﻟﻬﺎ ﺃﻣﺎﻡ ﺍﳉﻤﻬﻮﺭ ﺍﻟﻌﺎﻡ ﻭﺍﻟﻄﻠﺒﺔ ﻣﻦ ﺃﺭﺑﻌﲔ ﻣﺪﺭﺳﺔ ﻣﻦ ﻣﺪﺍﺭﺱ ﻣﺪﻳﺮﻳﺔ ﺍﻟﺘﺮﺑﻴﺔ‬
‫ﻭﺍﻟﺘﻌﻠﻴﻢ ﻭﻭﻛﺎﻟﺔ ﺍﻟﻐﻮﺙ‪ ،‬ﻭﺗﻄﺮﺡ ﺍﳌﺴﺮﺣﻴﺔ ﻣﺸﻜﻠﺔ ﺍﻟﻨﻔﺎﻳﺎﺕ ﻭﺍﳌﻌﺎﻧﺎﺓ ﺍﻟﺘﻲ ﻳﻮﺍﺟﻬﻬﺎ ﺍ‪‬ﺘﻤﻊ ﻓﻲ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﻫﺬﻩ ﺍﳌﺸﻜﻠﺔ ﻭﻣﺎ‬
‫ﻳﺘﻤﺨﺾ ﻋﻦ ﻫﺬﻩ ﺍﳌﺸﻜﻠﺔ ﻣﻦ ﻣﺸﺎﻛﻞ ﺍﺟﺘﻤﺎﻋﻴﺔ ﺃﺧﺮﻯ‪ .‬ﺍﳌﺴﺮﺣﻴﺔ ﻣﻦ ﻛﺘﺎﺑﺔ ﻭﺇﺧﺮﺍﺝ ﺇﻳﻬﺎﺏ ﺯﺍﻫﺪﺓ‪ ،‬ﲤﺜﻴﻞ ﺭﺍﺋﺪ ﺍﻟﺸﻴﻮﺧﻲ‪ ،‬ﻣﺤﻤﺪ‬
‫ﺍﻟﻄﻴﻄﻲ ﻭﺃﺳﺎﻣﺔ ﺍﳉﺎﺑﺮﻱ‪ ،‬ﻭﻣﺴﺌﻮﻝ ﺗﻘﻨﻲ ﻫﻤﺎﻡ ﻋﻤﺮﻭ‪.‬‬
‫ﺃﻧﻬﻰ ﻣﺴﺮﺡ ﻧﻌﻢ ﻭﺑﺎﻟﺸﺮﺍﻛﺔ ﻣﻊ ﻣﺆﺳﺴﺔ »ﻣﻨﺼﺔ ﺍﻟﺴﻼﻡ ﺍﻟﻌﺎﳌﻴﺔ ‪ «WFD‬ﺍﳉﺰﺀ ﺍﻷﻭﻝ ﻣﻦ ﺍﻟﺒﺮﻧﺎﻣﺞ ﺍﻟﺘﺪﺭﻳﺒﻲ »ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ«‬ ‫•‬
‫ﻭﺍﳌﻮﺟﻪ ﻟﻠﻤﻬﻨﻴﲔ ﻭﺍﳋﺮﻳﺠﲔ ﺍﳉﺪﺩ ﺍﳌﻬﺘﻤﲔ ﺑﺎﻟﻌﻤﻞ ﻣﻊ ﺍﻷﻃﻔﺎﻝ ﺑﺸﻜﻞ ﻣﺒﺎﺷﺮ‪ ،‬ﻭﺍﻟﺬﻱ ﺍﺳﺘﻤﺮ ﻣﻦ ﺑﺪﺍﻳﺔ ﺷﻬﺮ ﺁﺫﺍﺭ ﻭﺣﺘﻰ ﻧﻬﺎﻳﺔ‬ ‫ﹼ‬
‫ﺷﻬﺮ ﺣﺰﻳﺮﺍﻥ ‪ ،2010‬ﻭﻗﺪ ﺃﻧﻬﻰ ﺍﻟﺘﺪﺭﻳﺐ ‪ 16‬ﻣﺸﺎﺭﻛﺎ ﻭﻣﺸﺎﺭﻛﺔ ﺳﻴﺤﺼﻠﻮﻥ ﻓﻲ ﻧﻬﺎﻳﺔ ﺍﻟﺒﺮﻧﺎﻣﺞ ﻋﻠﻰ ﺷﻬﺎﺩﺍﺕ ﻣﻦ ﻣﺴﺮﺡ ﻧﻌﻢ ﻭ‬
‫»‪ «WFD‬ﺑـﺤﻮﺍﻟﻲ ‪ 190‬ﺳﺎﻋﺔ ﺗﺪﺭﻳﺒﻴﺔ ﺃﲤﻮﻫﺎ ﺧﻼﻝ ﺍﻟﺒﺮﻧﺎﻣﺞ ﺍﻟﺬﻱ ﺗﻀﻤﻦ ﺗﺪﺭﻳﺒﺎﺕ ﻓﻲ ﺃﻟﻌﺎﺏ ﺍﳌﺴﺮﺡ‪ ،‬ﺃﺳﺎﺳﻴﺎﺕ ﺍﻟﺘﻤﺜﻴﻞ ﺍﳌﺴﺮﺣﻲ‪،‬‬
‫ﺍﻟﺴﺮﺩ ﺍﻟﻘﺼﺼﻲ‪ ،‬ﺍﻟﺼﻮﺕ ﻭﺍﻟﺘﻨﻔﺲ‪ ،‬ﲤﺎﺭﻳﻦ ﺍﳉﺴﺪ‪ ،‬ﺇﻋﺪﺍﺩ ﺍﳋﻄﻂ‪ ،‬ﺑﺎﻹﺿﺎﻓﺔ ﺇﻟﻰ ﻭﺭﺷﺘﲔ ﻓﻲ ﺍﻹﺳﻌﺎﻑ ﺍﻷﻭﻟﻲ ﻭﺣﻘﻮﻕ ﺍﻟﻄﻔﻞ‪.‬‬
‫ﻭﻳﻜﻤﻞ ﻋﺪﺩ ﻣﻦ ﺍﳌﺘﺪﺭﺑﲔ ﺣﺎﻟﻴﺎ ﻭﺭﺷﺎﺕ ﻋﻤﻠﻴﺔ ﻣﻊ ﺍﻷﻃﻔﺎﻝ ﳌﺪﺓ ﺷﻬﺮﻳﻦ ﻟﺘﻌﺰﻳﺰ ﻗﺪﺭﺍﺗﻬﻢ ﺍﻟﻌﻤﻠﻴﺔ ﻋﻠﻰ ﺍﻟﺘﺪﺭﻳﺐ‪ ،‬ﻭﺍﳋﺮﻳﺠﻮﻥ ﻫﻢ‪:‬‬
‫ﺑﺸﺮﻯ ﺍﻷﻃﺮﺵ‪ ،‬ﺑﺸﺮﻯ ﺃﺑﻮ ﺻﺎﳝﻪ‪ ،‬ﻣﻨﺎﺭ ﺍﻟﺒﻼﺻﻲ‪ ،‬ﻫﺎﻟﻪ ﺍﻟﺪﺭﺍﺑﻴﻊ‪ ،‬ﻣﻌﺎﺫ ﻣﺮﻋﺐ‪ ،‬ﺷﻮﻛﺖ ﺍﻟﻄﺮﺩﺓ‪ ،‬ﻓﻜﺮﺕ ﺧ ﹼﻼﻑ‪ ،‬ﺣﻜﻤﺖ ﺍﻟﻘﻮﺍﺳﻤﻲ‪،‬‬
‫ﻭﺻﺪﻳﻘﺔ ﺍﻟﻔﻄﺎﻓﻄﺔ‪.‬‬
‫ﹼ‬ ‫ﻧﺴﻴﻢ ﻛﺎﺷﻮﺭ‪ ،‬ﺃﺭﻭﻯ ﺍﻏﺒﻴﺮﺍﺕ‪ ،‬ﺩﻳﺎﻧﺎ ﺍﻟﺴﻮﻳﻄﻲ‪ ،‬ﺁﻻﺀ ﺍﻟﺴﻮﻳﻄﻲ‪ ،‬ﻋﺒﻴﺮ ﺍﻟﻌﻤﻮﺭ‪ ،‬ﺩﻋﺎﺀ ﺍﻟﻌﻨﺎﺗﻲ‪ ،‬ﻧﻮﺭ ﺍﺳﻌﻴﻔﺎﻥ‪،‬‬
‫ﺑﺪﺃ ﻣﺴﺮﺡ ﻧﻌﻢ ﻫﺬﻩ ﺍﻷﻳﺎﻡ ﺗﻨﻔﻴﺬ ﺛﻼﺛﺔ ﺑﺮﺍﻣﺞ »ﻣﻦ ﺍﻟﻄﻼﺏ ﻟﻠﻄﻼﺏ« ﺣﻴﺚ ﰎ ﺍﺧﺘﻴﺎﺭ ﺣﻮﺍﻟﻲ ‪ 50‬ﻃﺎﻟﺒﺎ ﻭﻃﺎﻟﺒﺔ ﻣﻦ ﻋﺪﺓ ﻣﺪﺍﺭﺱ‬ ‫•‬
‫ﻭﻣﺮﺍﻛﺰ ﻭﻣﺆﺳﺴﺎﺕ ﻟﻠﻤﺸﺎﺭﻛﺔ ﻓﻲ ﺍﻟﺒﺮﻧﺎﻣﺞ ﺍﻟﺬﻱ ﻳﻬﺪﻑ ﺇﻟﻰ ﺗﻌﺰﻳﺰ ﻣﻬﺎﺭﺍﺕ ﺍﻟﻄﻠﺒﺔ ﻋﻠﻰ ﻛﺎﻓﺔ ﺍﳌﺴﺘﻮﻳﺎﺕ‪ ،‬ﻭﻳﻨﺘﻬﻲ ﺑﺜﻼﺙ‬
‫ﻣﺴﺮﺣﻴﺎﺕ ﻳﻘﺪﻣﻬﺎ ﺍﳌﺸﺎﺭﻛﻮﻥ ﻓﻲ ﺟﻮﻻﺕ ﺃﻣﺎﻡ ﺍﻟﻄﻠﺒﺔ ﻣﻦ ﺍﳌﺪﺍﺭﺱ ﺍﻷﺧﺮﻯ ﻣﻊ ﺑﺪﺍﻳﺔ ﺍﻟﻌﺎﻡ ﺍﻟﺪﺭﺍﺳﻲ ﺍﳉﺪﻳﺪ ‪2011 – 2010‬ﻡ‪.‬‬
‫ﺿﻤﻦ ﺍﻟﺘﺒﺎﺩﻝ ﺍﻟﺪﻭﻟﻲ ﻣﺎ ﺑﲔ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﻭﺍﳉﺎﻣﻌﺎﺕ ﻭﺍﳌﻌﺎﻫﺪ ﺍﻷﻭﺭﻭﺑﻴﺔ‪ ،‬ﻗﺎﻡ ﺍﻟﺰﻣﻴﻞ ﺭﺍﺋﺪ ﺍﻟﺸﻴﻮﺧﻲ ﺑﺘﻤﺜﻴﻞ ﻣﺴﺮﺡ ﻧﻌﻢ ﻓﻲ‬ ‫•‬
‫ﺩﻭﻟﺔ ﺍﻟﺴﻮﻳﺪ‪ ،‬ﺣﻴﺚ ﺯﺍﺭ ﻣﻊ ﻭﻓﺪ ﻛﺒﻴﺮ ﻣﻦ ﻛﺎﻓﺔ ﺍﳌﺴﺎﺭﺡ ﺍﻟﻔﻠﺴﻄﻴﻨﻴﺔ ﺃﻛﺎﺩﳝﻴﺔ ﺍﻟﺪﺭﺍﻣﺎ ﻓﻲ ﺳﺘﻮﻛﻬﻮﻟﻢ‪ ،‬ﻣﻌﻬﺪ ﺍﻟﺒﺎﻟﻴﻪ‪ ،‬ﻣﺪﺭﺳﺔ‬
‫ﺍﻟﺴﻴﺮﻙ ﺍﻟﺴﻮﻳﺪﻳﺔ‪ ،‬ﺟﺎﻣﻌﺔ ﺟﻮﺗﻨﺒﻮﺭﻍ‪ ،‬ﻭﻋﺪﺩ ﻣﻦ ﺍﳌﺴﺎﺭﺡ ﺍﻟﺴﻮﻳﺪﻳﺔ‪ .‬ﻭﻗﺪ ﺗﺒﺎﺩﻝ ﺍﻟﻮﻓﺪ ﻣﻊ ﺍﳌﺴﺌﻮﻟﲔ ﻫﻨﺎﻙ ﺍﳋﺒﺮﺍﺕ ﻭﺃﺟﺮﻭﺍ ﺍﻟﻌﺪﻳﺪ‬
‫ﻣﻦ ﺍﻟﻨﻘﺎﺷﺎﺕ ﺣﻮﻝ ﺩﻭﺭ ﺍﻟﺪﺭﺍﻣﺎ ﻓﻲ ﺍﻟﺘﻐﻴﻴﺮ ﺍ‪‬ﺘﻤﻌﻲ ﻭﺃﺳﺎﻟﻴﺐ ﺍﻟﻌﻤﻞ ﺍﳌﺴﺮﺣﻲ ﻭﺃﻭﺟﻪ ﺍﻟﺘﺸﺎﺑﻪ ﻭﺍﻻﺧﺘﻼﻑ ﺑﻴﻨﻬﻤﺎ ﻓﻲ ﺍﻟﺴﻮﻳﺪ‬
‫ﻭﻓﻠﺴﻄﲔ‪ ،‬ﻛﻤﺎ ﺣﻀﺮﻭﺍ ﻋﺪﺩﺍ ﻣﻦ ﺍﻟﻌﺮﻭﺽ ﺍﳌﺴﺮﺣﻴﺔ ﺍ‪‬ﺘﻠﻔﺔ‪.‬‬
‫»ﺃﻭﺩﺳﺔ ﻣﺎﺭﺗﻴﻎ« ﺍﻟﻔﺮﻧﺴﻲ ﻟﺴﺎﺭﺩﻱ ﺍﻟﻘﺼﺔ ﻓﻲ ﺩﻭﻝ ﺣﻮﺽ ﺍﻟﺒﺤﺮ ﺍﻷﺑﻴﺾ ﺍﳌﺘﻮﺳﻂ‬ ‫ﹼ‬ ‫ﺷﺎﺭﻙ ﺍﻟﺰﻣﻴﻞ ﺭﺍﺋﺪ ﺍﻟﺸﻴﻮﺧﻲ ﺃﻳﻀﺎ ﹰ ﻓﻲ ﻣﻬﺮﺟﺎﻥ‬ ‫•‬
‫ﳑﺜﻼ ﻓﻠﺴﻄﲔ ﻓﻲ ﻫﺬﺍ ﺍﳌﻬﺮﺟﺎﻥ‪.‬‬

‫‪5‬‬
‫ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎﺕ »ﺍﺣﺘﻔﺎﻟﻴﺔ ﻓﻠﺴﻄﲔ ﻟﻸﺩﺏ« ﺷﺎﺭﻙ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﻓﻲ ﻋﺪﺩ ﻣﻦ ﺍﻷﻧﺸﻄﺔ ﻣﻦ ﻗﺮﺍﺀﺍﺕ ﻣﺴﺮﺣﻴﺔ ﻭﻏﻴﺮﻫﺎ ﻓﻲ ﻣﻘﺮ ﺍﳌﺴﺮﺡ ﻓﻲ‬ ‫•‬
‫ﺍﳋﻠﻴﻞ‪.‬‬
‫ﺍﺳﺘﻀﺎﻑ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﺍﻟﻌﺮﺽ ﺍﳌﺴﺮﺣﻲ »ﻣﻦ ﺍﻟﻘﺪﺱ ﻣﻊ ﺣﺒﻲ ‪ ...‬ﻧﺎﺟﻲ« ﻟﻠﻤﺴﺮﺡ ﺍﻟﻮﻃﻨﻲ‪.‬‬ ‫•‬
‫ﺍﺳﺘﻀﺎﻑ ﺍﳌﺴﺮﺡ ﻳﻮﻣﻲ ‪ 16‬ﻭ ‪ 17/5/2010‬ﻓﻌﺎﻟﻴﺎﺕ »ﻣﻬﺮﺟﺎﻥ ﺍﳌﺴﺮﺡ ﺍﳌﺪﺭﺳﻲ« ﺍﻟﺬﻱ ﻧﻈﻤﺘﻪ ﻣﺪﻳﺮﻳﺔ ﺍﻟﺘﺮﺑﻴﺔ ﻭﺍﻟﺘﻌﻠﻴﻢ‪ ،‬ﺣﻴﺚ ﰎ ﻋﺮﺽ ‪11‬‬ ‫•‬
‫ﺍﺳﻜﺘﺶ ﻣﺴﺮﺣﻲ ﻟﻸﻃﻔﺎﻝ ﲢﻤﻞ ﻣﻀﺎﻣﲔ ﺗﺮﺑﻮﻳﺔ ﻭﺍﺟﺘﻤﺎﻋﻴﺔ‪ ،‬ﻧﻔﺬﻫﺎ ﻣﻌﻠﻤﻮﻥ ﻭﻣﻌﻠﻤﺎﺕ ﻣﻦ ‪ 11‬ﻣﺪﺭﺳﺔ ﻭﺣﻀﺮﻫﺎ ﻋﺪﺩ ﻛﺒﻴﺮ ﻣﻦ ﺍﻷﻫﺎﻟﻲ ﻭﺃﻭﻟﻴﺎﺀ‬
‫ﺍﻷﻣﻮﺭ‪ ،‬ﻭﺃﺷﺮﻑ ﻋﻠﻰ ﺍﻟﺘﺪﺭﻳﺐ ﻫﻴﺎﻡ ﺍﻟﺘﻠﺒﻴﺸﻲ ﻭﻋﻠﻰ ﺍﻟﺘﻨﻔﻴﺬ ﺍﻷﺳﺘﺎﺫ ﺩﻳﺎﺏ ﺍﻟﻬﻴﻤﻮﻧﻲ ﻣﺪﻳﺮ ﻗﺴﻢ ﺍﻷﻧﺸﻄﺔ ﲟﺪﻳﺮﻳﺔ ﺍﻟﺘﺮﺑﻴﺔ ﻭﺍﻟﺘﻌﻠﻴﻢ‪.‬‬
‫ﻗﺎﻡ ﺍﻟﺰﻣﻴﻼﻥ ﻣﺤﻤﺪ ﺍﻟﻄﻴﻄﻲ ﻭﺇﻳﻬﺎﺏ ﺯﺍﻫﺪﺓ ﺑﺎﳌﺸﺎﺭﻛﺔ ﻓﻲ ﻋﺮﺽ ﻣﺴﺮﺣﻴﺔ »‪ «603‬ﻣﻊ ﻣﺴﺮﺡ ﺣﻴﺎﺓ‪ ،‬ﻭﺫﻟﻚ ﻓﻲ ﺩﻭﻟﺔ ﺍﻹﻣﺎﺭﺍﺕ ﺍﻟﻌﺮﺑﻴﺔ ﺍﳌﺘﺤﺪﺓ‬ ‫•‬
‫ﺣﻴﺚ ﰎ ﺗﻘﺪﱘ ﻋﺮﺿﲔ ﻣﺴﺮﺣﻴﲔ ﻓﻲ ﺇﻣﺎﺭﺗﻲ ﺍﻟﺸﺎﺭﻗﺔ ﻭﺃﺑﻮ ﻇﺒﻲ‪.‬‬
‫ﻳﻘﻮﻡ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﺣﺎﻟﻴﺎ ﺑﺎﻟﻌﻤﻞ ﻋﻠﻰ ﲡﻬﻴﺰ ﺃﻭﻝ ﻭﺃﻛﺒﺮ ﻣﻜﺘﺒﺔ ﺩﺭﺍﻣﺎ ﻣﺘﺨﺼﺼﺔ ﻓﻲ ﻣﻨﻄﻘﺔ ﺟﻨﻮﺏ ﺍﻟﻀﻔﺔ‪ ،‬ﻭﺳﺘﻀﻢ ﺍﳌﻜﺘﺒﺔ ﺃﻛﺜﺮ ﻣﻦ ‪6000‬‬ ‫•‬
‫ﻛﺘﺎﺏ ﻓﻲ ﻣﺠﺎﻻﺕ ﺍﳌﺴﺮﺡ ﻭﺍﻟﺪﺭﺍﻣﺎ ﻭﺍﻟﻘﺼﺔ ﻭﺍﻟﺮﻭﺍﻳﺔ ﻣﻦ ﺩﺭﺍﺳﺎﺕ ﻭﻧﺼﻮﺹ ﻭﲢﻠﻴﻼﺕ ﻭﻣﺮﺍﺟﻊ ﻣﻦ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﺪﻭﻝ ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻷﺟﻨﺒﻴﺔ ﻭﺑﺎﻟﻠﻐﺘﲔ‬
‫ﺍﻟﻌﺮﺑﻴﺔ ﻭﺍﻻﳒﻠﻴﺰﻳﺔ‪.‬‬
‫ﻗﺎﻡ ﺃﻋﻀﺎﺀ ﺍﻟﻬﻴﺌﺔ ﺍﻹﺩﺍﺭﻳﺔ ﳌﺆﺳﺴﺔ ﻣﻨﺼﺔ ﺍﻟﺴﻼﻡ ﺍﻟﻌﺎﳌﻴﺔ )‪ (WFD‬ﺑﺰﻳﺎﺭﺓ »ﳌﺴﺮﺡ ﻧﻌﻢ« ﺣﻀﺮﻭﺍ ﺧﻼﻟﻬﺎ ﻋﺮﺿﺎ ﳌﺴﺮﺣﻴﺔ »ﻧﻔﺲ ﺍﳌﺸﻜﻠﺔ«‬ ‫•‬
‫ﻟﺸﺮﺡ ﻣﻔﺼﻞ ﻋﻦ ﺑﺮﺍﻣﺞ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﺍ‪‬ﺘﻠﻔﺔ‪ ،‬ﻭﻗﺪ ﺃﺑﺪﻯ ﺍﻷﻋﻀﺎﺀ ﺍﻫﺘﻤﺎﻣﻬﻢ ﺑﻌﻤﻞ »ﻣﺴﺮﺡ ﻧﻌﻢ«‬ ‫ﹴ‬ ‫ﻭﺍﻃﻠﻌﻮﺍ ﻋﻠﻰ ﻧﺸﺎﻃﺎﺕ ﺍﳌﺴﺮﺡ ﻭﺍﺳﺘﻤﻌﻮﺍ‬
‫ﻓﻲ ﻣﻨﻄﻘﺔ ﻛﺎﳋﻠﻴﻞ ﳋﺼﻮﺻﻴﺘﻬﺎ‪ ،‬ﻭﻗﺎﻣﻮﺍ ﺑﻨﻬﺎﻳﺔ ﺍﻟﺰﻳﺎﺭﺓ ﺑﺠﻮﻟﺔ ﻓﻲ ﺍﻟﺒﻠﺪﺓ ﺍﻟﻘﺪﳝﺔ ﻭﺯﻳﺎﺭﺓ ﺍﳊﺮﻡ ﺍﻹﺑﺮﺍﻫﻴﻤﻲ ﺍﻟﺸﺮﻳﻒ‪.‬‬
‫ﺿﻤﻦ ﺍﻟﺘﺒﺎﺩﻝ ﺍﻟﺪﻭﻟﻲ ﻭﺑﻌﺪ ﺍﻟﺰﻳﺎﺭﺓ ﺍﻟﺘﻲ ﻗﺎﻡ ﺑﻬﺎ ﺍﻟﺰﻣﻴﻞ ﺭﺍﺋﺪ ﺍﻟﺸﻴﻮﺧﻲ ﻟﻌﺪﺩ ﻣﻦ ﺍﳌﺴﺎﺭﺡ ﻭﺍﳉﺎﻣﻌﺎﺕ ﺍﳌﻬﺘﻤﺔ ﲟﺠﺎﻝ ﺍﻟﺪﺭﺍﻣﺎ ﻓﻲ ﺍﻟﺴﻮﻳﺪ‪ ،‬ﻗﺎﻡ‬ ‫•‬
‫ﻋﺪﺩ ﻣﻦ ﺍﻟﻔﻨﺎﻧﲔ ﻭﺍﳌﺪﺭﺑﲔ ﻭﺍ‪‬ﺮﺟﲔ ﻭﺍﻟﻜﺘﹼﺎﺏ ﻣﻦ ﺗﻠﻚ ﺍﳌﺴﺎﺭﺡ ﺑﻌﺪﺓ ﺯﻳﺎﺭﺍﺕ »ﳌﺴﺮﺡ ﻧﻌﻢ« ﺍﺳﺘﻤﺮﺕ ﻋﻠﻰ ﻣﺪﻯ ﺛﻼﺛﺔ ﺃﺷﻬﺮ ﺍﻃﻠﻌﻮﺍ ﺧﻼﻟﻬﺎ ﻋﻠﻰ‬
‫ﻧﺸﺎﻃﺎﺕ ﻭﺑﺮﺍﻣﺞ ﺍﳌﺴﺮﺡ ﻭﺗﺒﺎﺣﺜﻮﺍ ﻣﻊ ﺇﺩﺍﺭﺓ ﺍﳌﺴﺮﺡ ﻭﺍﻟﻄﺎﻗﻢ ﺍﻟﻔﻨﻲ ﺣﻮﻝ ﺳﺒﻞ ﺍﻟﺘﻌﺎﻭﻥ ﺍﳌﺴﺘﻘﺒﻠﻴﺔ ﺑﲔ ﺍﻟﻄﺮﻓﲔ‪ ،‬ﺣﻴﺚ ﰎ ﺍﻻﺗﻔﺎﻕ ﺍﳌﺒﺪﺋﻲ ﻋﻠﻰ‬
‫ﺍﺳﺘﻘﺪﺍﻡ ﻋﺪﺩ ﻣﻨﻬﻢ ﻟﺘﺪﺭﻳﺐ ﺍﳌﺸﺎﺭﻛﲔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ »ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ« ﻓﻲ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﳌﻮﺍﺿﻴﻊ ﺍﻟﺘﻲ ﺳﺘﻔﻴﺪﻫﻢ ﻭﺗﺰﻳﺪ ﻣﻦ ﺧﺒﺮﺗﻬﻢ ﻓﻲ ﺍﻟﺘﻌﺎﻣﻞ‬
‫ﻣﻊ ﺍﻷﻃﻔﺎﻝ ﻭﺍﺳﺘﺨﺪﺍﻡ ﺍﻟﺪﺭﺍﻣﺎ ﻓﻲ ﺍﻟﺘﻌﻠﻴﻢ‪.‬‬
‫ﻛﻤﺎ ﺷﺎﺭﻙ ﻃﺎﻗﻤﻲ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﺍﻹﺩﺍﺭﻱ ﻭﺍﻟﻔﻨﻲ ﺑﺈﺟﺮﺍﺀ ﺍﻟﻌﺪﻳﺪ ﻣﻦ ﺍﻟﻮﺭﺷﺎﺕ ﻭﺍﻟﻠﻘﺎﺀﺍﺕ ﻭﺍﻟﺪﻭﺭﺍﺕ ﻟﻠﺮﻓﻊ ﻣﻦ ﻣﺴﺘﻮﻯ ﺃﺩﺍﺀ ﺍﳌﺴﺮﺡ ﻋﻠﻰ ﻛﺎﻓﺔ‬ ‫•‬
‫ﺍﳌﺴﺘﻮﻳﺎﺕ ﺍﻹﺩﺍﺭﻳﺔ ﻭﺍﻟﻔﻨﻴﺔ‪.‬‬
‫)ﻧﻔﺬ ﻣﺴﺮﺡ ﻋﺸﺘﺎﺭ ﻭﺭﺷﺔ ﻣﻦ ﺛﻼﺛﺔ ﺃﻳﺎﻡ ﺣﻮﻝ ﻣﺴﺮﺡ ﺍﳌﻀﻄﻬﺪﻳﻦ ‪ ،‬ﺣﻴﺚ ﻗﺎﻡ ﺍﻟﻔﻨﺎﻥ ﺇﺩﻭﺍﺭﺩ ﻣﻌﻠﻢ ﺑﺘﺪﺭﻳﺐ ﺍﳌﺸﺎﺭﻛﲔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‬ ‫•‬
‫ﻋﻠﻰ ﺗﻘﻨﻴﺎﺕ ﻭﺍﺳﺎﺳﻴﺎﺕ ﻣﺴﺮﺡ ﺍﳌﻀﻄﻬﺪﻳﻦ ﻭﺃﺳﺎﻟﻴﺐ ﺑﻨﺎﺀ ﺍﳌﺸﺎﻫﺪ ﺣﻮﻝ ﻫﺬﺍ ﺍﻟﻨﻮﻉ ﻣﻦ ﺍﳌﺴﺮﺡ ﻭﻛﻴﻔﻴﺔ ﺇﺷﺮﺍﻙ ﺍﳉﻤﻬﻮﺭ ﻓﻲ ﺍﻟﻨﻘﺎﺵ ﻭﺍﻟﺘﺄﺛﻴﺮ‬
‫ﻓﻲ ﻫﺬﺍ ﺍﳌﺴﺮﺡ(‬

‫‪6‬‬
 ‫ﺷﺨﺼﻴﺔ اﻟﻌﺪد‬
‫‪ԄχÓ:a@lbÌÖ‬‬
‫ﻓﻲ ﻫﺬﺍ ﺍﻟﻌﺪﺩ ﺭﺃﻳﻨﺎ ﻓﻲ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﺃﻥ ﻧﺴﺘﻀﻴﻒ ﺍﻟﺴﻴﺪ ﺩﻳﺎﺏ ﺍﻟﻬﻴﻤﻮﻧﻲ ﺭﺋﻴﺲ ﻗﺴﻢ ﺍﻟﻨﺸﺎﻃﺎﺕ ﺍﻟﻄﻼﺑﻴﺔ ﻓﻲ ﻣﺪﻳﺮﻳﺔ ﺍﻟﺘﺮﺑﻴﺔ ﻭﺍﻟﺘﻌﻠﻴﻢ‬
‫ﻓﻲ ﺍﳋﻠﻴﻞ‪ ،‬ﻭﻣﻦ ﻣﻨﻄﻠﻖ ﻋﻠﻤﻨﺎ ﲟﺪﻯ ﺍﻫﺘﻤﺎﻡ ﺍﻟﺴﻴﺪ ﺩﻳﺎﺏ ﺍﻟﻬﻴﻤﻮﻧﻲ ﺑﺎﻷﻧﺸﻄﺔ ﻏﻴﺮ ﺍﳌﻨﻬﺠﻴﺔ ﻓﻲ ﻣﺪﻳﺮﻳﺔ ﺍﻟﺘﺮﺑﻴﺔ ﻭﺍﻟﺘﻌﻠﻴﻢ ﺧﺼﻮﺻﺎ ﻭﻋﻠﻰ ﺍﳌﺴﺘﻮﻯ‬
‫ﺍﳌﺆﺳﺴﻲ ﻋﻤﻮﻣﺎ‪ ،‬ﻭﻣﻦ ﻣﻨﻄﻠﻖ ﺇﳝﺎﻧﻪ ﺑﺪﻭﺭ ﺍﳌﺴﺮﺡ ﻭﺍﻟﺪﺭﺍﻣﺎ ﻓﻲ ﻓﺘﺢ ﺁﻓﺎﻕ ﺍﳌﻌﺮﻓﺔ ﻭﺗﻮﺳﻴﻊ ﻣﺪﺍﺭﻙ ﻃﻼﺑﻨﺎ ﺍﻷﺣﺒﺔ ﻭﺗﻐﻴﻴﺮ ﻣﻔﺎﻫﻴﻤﻬﻢ ﻧﺤﻮ ﺍﻷﻓﻀﻞ‬
‫ﻛﺎﻥ ﻟﻨﺎ ﻫﺬﺍ ﺍﻟﻠﻘﺎﺀ‪.‬‬
‫** ﺍﻟﺴﻴﺪ ﺩﻳﺎﺏ ﺍﻟﻬﻴﻤﻮﻧﻲ‪ ،‬ﻛﻮﻧﻚ ﻭﺍﻛﺒﺖ ﻧﺸﺄﺓ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﻣﻨﺬ ﺑﺪﺍﻳﺎﺗﻪ ﻣﻄﻠﻊ ﺍﻟﻌﺎﻡ ‪2008‬ﻡ‪ ،‬ﻭﻭﺍﻛﺒﺖ ﻣﺴﻴﺮﺓ ﺍﻟﻄﺎﻗﻢ‬
‫ﺍﻟﻔﻨﻲ »ﳌﺴﺮﺡ ﻧﻌﻢ« ﻣﻨﺬ ﺑﺪﺍﻳﺎﺗﻪ ﻓﻲ ﺍﻟﻌﺎﻡ ‪1997‬ﻡ‪ ،‬ﻣﺎﺫﺍ ﺗﻘﻮﻝ ﻋﻦ ﻣﺴﻴﺮﺓ ﻫﺬﺍ ﺍﻟﻄﺎﻗﻢ ﺍﳊﺎﻓﻠﺔ ﻭﻫﺬﺍ ﺍﳌﺴﺮﺡ ﺍﻟﻨﺎﺷﺊ‪:‬‬
‫ﻣﺴﺮﺡ ﻧﻌﻢ؟‬
‫‪ --‬ﲤﻜﻦ ﻃﺎﻗﻢ ﻣﺴﺮﺡ ﻧﻌﻢ ﺍﻟﻔﻨﻲ ﻭﻣﻨﺬ ﺍﻟﺴﻨﻮﺍﺕ ﺍﻷﻭﻟﻰ ﻻﻧﻄﻼﻗﺘﻪ ﻓﻲ ﺍﻟﻌﺎﻡ ‪ 1997‬ﻣﻊ »ﻣﺆﺳﺴﺔ ﺃﻳﺎﻡ ﺍﳌﺴﺮﺡ« ﺣﺘﻰ ﻧﻬﺎﻳﺔ ﺍﻟﻌﺎﻡ ‪ 2007‬ﻣﻦ ﺍﻟﻌﻤﻞ‬
‫ﻣﻦ ﺧﻼﻝ ﺧﻄﺔ ﻭﺍﺿﺤﺔ ﻭﺑﻌﻴﺪﺓ ﺍﳌﺪﻯ‪ ،‬ﻫﻲ ﻧﺸﺮ ﺛﻘﺎﻓﺔ ﺍﳌﺴﺮﺡ‪ ،‬ﻓﻜﺎﻧﺖ ﺍﳋﻠﻴﻞ ﺃﺭﺽ ﻋﻄﺸﻰ ﻟﻬﺬﺍ ﺍﻟﻨﺸﺎﻁ‪ .‬ﺭﲟﺎ ﻛﺎﻥ ﻟﻐﻴﺎﺏ ﻣﺒﻨﻰ ﺍﳌﺴﺮﺡ ﺗﺄﺛﻴﺮ‪ ،‬ﻟﻜﻦ‬
‫ﺑﻨﺎﺀ ﻟﻠﻤﺴﺮﺡ ﻋﺎﺋﻘﺎ ﺃﻣﺎﻣﻪ‪ .‬ﻭﺣﻴﻨﻤﺎ ﻧﺘﺤﺪﺙ ﻋﻦ ﺍﳌﺴﺮﺡ‪ ،‬ﻓﺈﻧﻨﺎ ﻧﻌﻨﻲ ﺑﻮﺿﻮﺡ ﺍﻟﻔﻨﺎﻧﲔ ﻣﺤﻤﺪ ﺍﻟﻄﻴﻄﻲ‪ ،‬ﺇﻳﻬﺎﺏ‬
‫ﻣﺜﺎﺑﺮﺓ ﻓﺮﻳﻖ ﺍﳌﺴﺮﺡ ﻟﻢ ﲡﻌﻞ ﻏﻴﺎﺏ ﹴ‬
‫ﺯﺍﻫﺪﺓ ﻭﺭﺍﺋﺪ ﺍﻟﺸﻴﻮﺧﻲ‪ ،‬ﻭﺣﻴﻨﻤﺎ ﻧﺘﺤﺪﺙ ﻋﻦ ﺍﳌﺆﺳﺴﺎﺕ ﺍﳌﺴﺮﺣﻴﺔ ﻓﺈﻧﻨﺎ ﻧﻌﻨﻲ »ﻣﺴﺮﺡ ﻧﻌﻢ«‪ ،‬ﻓﺒﺮﻏﻢ ﺍﻟﻌﻤﺮ ﺍﻟﺰﻣﻨﻲ ﺍﻟﻘﺼﻴﺮ »ﳌﺴﺮﺡ ﻧﻌﻢ«‪ ،‬ﺇﻻ ﺃﻧﻪ ﺑﺎﺕ‬
‫ﺍﳌﺆﺳﺴﺔ ﺍﻷﻛﺜﺮ ﲤﻴﺰﺍ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺟﻨﻮﺏ ﺍﻟﻀﻔﺔ ﺍﻟﻐﺮﺑﻴﺔ ﻭﺍﺳﻢ ﻫﺬﺍ ﺍﳌﺴﺮﺡ ﺑﺎﺕ ﹶﻣﻌﻠﻤﺎ ﻣﻦ ﻣﻌﺎﻟﻢ ﻣﺤﺎﻓﻈﺔ ﺍﳋﻠﻴﻞ‪.‬‬
‫** ﻣﺎ ﻫﻲ ﺍﻟﻨﺸﺎﻃﺎﺕ ﺍﻟﻄﻼﺑﻴﺔ ﺍﻟﺘﻲ ﺗﻮﻓﺮﻫﺎ ﺍﻟﺘﺮﺑﻴﺔ ﻭﺍﻟﺘﻌﻠﻴﻢ ﻓﻲ ﺍﳋﻠﻴﻞ‪ ،‬ﻭﻣﺎ ﺭﺃﻳﻚ ﺑﺎﻟﺒﺮﺍﻣﺞ ﻭﺍﻷﻧﺸﻄﺔ ﻣﻦ ﻋﺮﻭﺽ ﻣﺴﺮﺣﻴﺔ‬
‫ﻭﻭﺭﺷﺎﺕ ﺩﺭﺍﻣﺎ ﻭﻏﻴﺮﻫﺎ ﺍﻟﺘﻲ ﻳﻘﺪﻣﻬﺎ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﺑﺎﻟﺘﻌﺎﻭﻥ ﺍﻟﺪﺍﺋﻢ ﻭﺍﻟﺘﺎﻡ ﻣﻊ ﻭﺯﺍﺭﺓ ﻭﻣﺪﻳﺮﻳﺔ ﺍﻟﺘﺮﺑﻴﺔ ﻭﺍﻟﺘﻌﻠﻴﻢ‪ ،‬ﻭﻣﺎ ﻣﺪﻯ‬
‫ﺃﻫﻤﻴﺔ ﻫﺬﻩ ﺍﻷﻧﺸﻄﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻜﻢ؟‬
‫‪ --‬ﺍﻟﺘﺮﺑﻴﺔ ﻭﻣﻨﺬ ﺍﺳﺘﻼﻡ ﺍﻟﺴﻠﻄﺔ ﺍﻟﻮﻃﻨﻴﺔ ﳌﻬﺎﻣﻬﺎ ﲢﻮﻟﺖ ﻣﻦ ﺻﺤﺮﺍﺀ ﺇﻟﻰ ﻭﺍﺣﺔ ﻳﺎﻧﻌﺔ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﻨﺸﺎﻃﺎﺕ‪ ،‬ﻓﻘﺒﻞ ﺍﺳﺘﻼﻡ ﺍﻟﺴﻠﻄﺔ ﻟﻢ ﻳﻜﻦ ﻫﻨﺎﻙ‬
‫ﻣﺎ ﳝﻜﻦ ﺗﺴﻤﻴﺘﻪ ﺑﺎﻟﻨﺸﺎﻃﺎﺕ ﺍﻟﻄﻼﺑﻴﺔ‪ ،‬ﻣﻦ ﻧﺎﺣﻴﺔ ﺃﺧﺮﻯ ﻓﺈﻥ ﺍﻟﻨﺸﺎﻃﺎﺕ ﺍﻟﻄﻼﺑﻴﺔ ﻫﻲ ﻛﻞ ﻣﺎ ﳝﻜﻦ ﺃﻥ ﻳﺨﻄﺮ ﻋﻠﻰ ﺑﺎﻟﻚ ﻣﻦ ﻣﺠﺎﻻﺕ ﳝﻜﻦ ﻟﻠﻄﺎﻟﺐ‬
‫ﺃﻥ ﻳﻨﺘﺠﻬﺎ‪ ،‬ﻓﻲ ﺍ‪‬ﺎﻻﺕ ﺍﻟﻔﻨﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻟﺮﻳﺎﺿﻴﺔ ﻭﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﻭﺍﳌﻮﺳﻴﻘﻴﺔ ‪...‬ﺍﻟﺦ‪.‬‬
‫ﺑﺎﻟﻨﺴﺒﺔ ﻟﻲ ﺷﺨﺼﻴﺎ‪ ،‬ﻭﻟﻌﻼﻗﺘﻲ ﺑﺎﳌﺴﺮﺡ ﻣﻨﺬ ﺃﻳﺎﻡ ﺍﳌﺪﺭﺳﺔ ﻭﺍﳉﺎﻣﻌﺔ‪ ،‬ﻛﻨﺖ ﺃﻋﻄﻲ ﻫﺬﺍ ﺍﻟﻨﺸﺎﻁ ﺍﻷﻭﻟﻮﻳﺔ ﻣﻨﺬ ﺑﺪﺍﻳﺔ ﺗﺴﻠﻤﻲ ﻣﻬﺎﻣﻲ ﻛﺮﺋﻴﺲ ﻗﺴﻢ‬
‫ﻟﻠﻨﺸﺎﻃﺎﺕ‪ ،‬ﻭﺳﺮﺭﺕ ﺣﻴﻨﻤﺎ ﻧﺸﺄﺕ ﺃﻭﻝ ﻣﺆﺳﺴﺔ ﻟﻠﻤﺴﺮﺡ ﻋﺒﺮ ﻣﺆﺳﺴﺔ »ﺃﻳﺎﻡ ﺍﳌﺴﺮﺡ« ﺍﻟﺘﻲ ﻋﻤﻠﺖ ﻓﻲ ﺍﳋﻠﻴﻞ ﻣﻨﺬ ﺑﺪﺍﻳﺔ ‪ 1997‬ﻭﺣﺘﻰ ‪ ،2007‬ﺣﻴﺚ‬
‫ﰎ ﺍﻟﺘﻨﺴﻴﻖ ﻣﻊ ﻭﺯﺍﺭﺓ ﺍﻟﺘﺮﺑﻴﺔ ﻟﻔﺘﺢ ﺍﻷﺑﻮﺍﺏ ﺃﻣﺎﻡ ﻛﻞ ﺃﻧﺸﻄﺔ ﺍﳌﺆﺳﺴﺔ ﻭﺍﻟﺘﻲ ﺗﻨﻮﻋﺖ ﻣﺎ ﺑﲔ ﻋﺮﻭﺽ ﻟﻠﻄﻠﺒﺔ )ﻭﻫﻲ ﻋﺮﻭﺽ ﻣﺠﺎﻧﻴﺔ( ﻭﻭﺭﺷﺎﺕ ﺩﺭﺍﻣﺎ‬
‫ﻟﻠﻄﻠﺒﺔ ﻓﻲ ﺍﳌﺪﺭﺍﺱ‪ ،‬ﻭﻭﺭﺷﺎﺕ ﺍﻟﺴﺮﺩ ﺍﻟﻘﺼﺼﻲ ﻟﻠﻤﻌﻠﻤﲔ‪ ،‬ﻛﺬﻟﻚ ﺍﻷﻧﻴﻤﻴﺸﻦ )ﺍﻟﺮﺳﻮﻡ ﺍﳌﺘﺤﺮﻛﺔ( ‪ ...‬ﻭﻏﻴﺮﻫﺎ‪ .‬ﻭﻗﺪ ﺍﺳﺘﻔﺎﺩ ﻣﻦ ﺃﻧﺸﻄﺔ ﻓﺮﻳﻖ ﺍﳌﺴﺮﺡ‬
‫ﻋﺸﺮﺍﺕ ﺍﻵﻻﻑ ﻣﻦ ﺍﻟﻄﻠﺒﺔ ﻭﺍﳌﻌﻠﻤﲔ ﻭﺍﳉﻤﻬﻮﺭ‪.‬‬
‫ﺃﻭﺩ ﺍﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ ﺃﻥ ﻧﺸﺎﻃﺎﺕ ﻭﺑﺮﺍﻣﺞ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﻫﻲ ﺑﺮﺍﻣﺞ ﺃﺳﺎﺳﻴﺔ ﻟﻠﻨﺸﺎﻃﺎﺕ ﺍﻟﻄﻼﺑﻴﺔ‪ ،‬ﻭﻫﻲ ﺑﺮﺍﻣﺞ ﺃﺳﺎﺳﻴﺔ ﻟﻠﻤﻌﻠﻤﲔ‪ ،‬ﺣﻴﺚ ﺩﻟﺖ ﻛﻞ‬
‫ﺍﻟﺪﺭﺍﺳﺎﺕ ﻋﻠﻰ ﺣﺎﺟﺔ ﺍﳌﻌﻠﻢ ﻟﻠﺪﺭﺍﻣﺎ ﻟﻠﻘﻴﺎﻡ ﺑﻮﻇﻴﻔﺘﻪ ﻛﻤﻌﻠﻢ‪ .‬ﻭﻧﺤﻦ ﻓﻲ ﺍﻟﺘﺮﺑﻴﺔ ﻭﺍﻟﺘﻌﻠﻴﻢ ﺳﻌﺪﺍﺀ ﺟﺪﺍ ﺑﻮﺟﻮﺩ »ﻣﺴﺮﺡ ﻧﻌﻢ«‪ ،‬ﺣﻴﺚ ﻻ ﲢﻈﻰ‬
‫ﺍﶈﺎﻓﻈﺎﺕ ﺍﻷﺧﺮﻯ ﲟﺆﺳﺴﺎﺕ ﻣﺸﺎﺑﻬﺔ‪.‬‬
‫ﻭﻟﻴﺲ ﺃﺩﻝ ﻋﻠﻰ ﻗﻴﻤﺔ ﻫﺬﻩ ﺍﳌﺆﺳﺴﺔ ﺃﻛﺜﺮ ﻣﻦ ﺃﻥ ﻭﺯﺍﺭﺓ ﺍﻟﺘﺮﺑﻴﺔ ﻭﺍﻟﺘﻌﻠﻴﻢ ﺷﺎﺭﻛﺖ ﺑﻮﻓﺪ ﻃﻼﺑﻲ ﻣﻦ ﺍﳋﻠﻴﻞ ﻓﻲ ﻣﺴﺮﺡ ﺍﻟﻄﻠﺒﺔ ﺍﻷﻭﺭﻭﺑﻲ ﻓﻲ ﺍﻟﻴﻮﻧﺎﻥ ﺧﻼﻝ‬
‫ﺍﻟﺸﻬﺮ ﺍﳌﺎﺿﻲ‪ ،‬ﻭﺍﻟﺬﻱ ﻳﺪﻝ ﻋﻠﻰ ﻣﺴﺘﻮﻯ ﺍﻟﻨﻀﻮﺝ ﻭﺣﺠﻢ ﺍﳋﺒﺮﺍﺕ ﺍﻟﺘﻲ ﺑﺎﺗﺖ ﺗﺘﻮﻓﺮ ﻓﻲ ﺍﳋﻠﻴﻞ‪.‬‬
‫ﺃﻛﺎﺩ ﺃﻗﻮﻝ ﺃﻥ ﺍﳌﺴﺮﺡ ﻓﻲ ﺍﳋﻠﻴﻞ ﺃﺻﺒﺢ ﻣﻦ ﺍﳌﻈﺎﻫﺮ ﺍﳌﺮﺍﺩﻓﺔ ﻟﻠﺜﻘﺎﻓﺔ‪ ،‬ﻟﻠﻨﺸﺎﻁ ‪ ،‬ﻟﻺﺑﺪﺍﻉ‪ ،‬ﻓﻜﻞ ﺍﻟﺘﺤﻴﺔ ﻭﺍﻟﺘﻘﺪﻳﺮ ﻟﺰﻣﻼﺋﻲ ﻓﻲ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﻓﻨﻴﲔ‬
‫ﻭﻓﻨﺎﻧﲔ ﻭﺇﺩﺍﺭﻳﲔ‪.‬‬
‫ﻛﻠﻤﺔ ﺗﻮﺟﻬﻮﻧﻬﺎ ﻟﻄﺎﻗﻢ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﻣﻦ ﺟﻬﺔ‪ ،‬ﻭﻟﻠﻤﻌﻠﻤﲔ ﻭﺍﻟﻄﻠﺒﺔ ﻓﻴﻤﺎ ﻳﺘﻌﻠﻖ ﺑﺄﻧﺸﻄﺔ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﻣﻦ ﺟﻬﺔ‬
‫ﺃﺧﺮﻯ؟‬
‫‪ --‬ﻟﻦ ﺗﻜﻮﻥ ﻫﻨﺎﻙ ﻛﻠﻤﺔ ﺃﺧﻴﺮﺓ ﻧﻮﺟﻬﻬﺎ »ﳌﺴﺮﺡ ﻧﻌﻢ«‪ ،‬ﺳﻴﻈﻞ ﻫﻨﺎﻙ ﻛﻼﻡ ﻧﻮﺟﻬﻪ ﺑﺎﺳﺘﻤﺮﺍﺭ »ﳌﺴﺮﺡ ﻧﻌﻢ«‪ ،‬ﻧﻘﻮﻝ ﻟﻬﻢ ﻟﻘﺪ ﺣﻔﺮﰎ ﺑﺎﻟﺼﺨﺮ‪ ،‬ﻭﻧﺒﺘﺖ‬
‫ﻭﺍﺣﺘﻜﻢ‪ ،‬ﺍﺳﺘﻤﺮﻭﺍ‪ ،‬ﻧﺮﻳﺪ ﻣﻨﻜﻢ ﺍﻟﻜﺜﻴﺮ‪ ،‬ﻧﺮﻳﺪ ﻣﺴﺮﺣﺎ ﻟﻠﻄﻔﻞ‪ ،‬ﻭﻣﺴﺮﺣﺎ ﻣﻦ ﺃﺟﻞ ﺍﻟﻄﻔﻞ‪ ،‬ﻧﺮﻳﺪ ﺗﺪﺭﻳﺒﺎ ﻟﻜﻞ ﺍﳌﻌﻠﻤﲔ ﻓﻲ ﻣﺠﺎﻝ ﺗﻮﻇﻴﻒ ﺍﻟﺪﺭﺍﻣﺎ ﻓﻲ‬
‫ﺍﻟﻌﻤﻞ ﺍﻟﺘﻌﻠﻴﻤﻲ‪ ،‬ﻧﺮﻳﺪ ﻋﺮﻭﺿﺎ ﻣﺴﺮﺣﻴﺔ ﺩﻭﺭﻳﺔ‪ ،‬ﻭﻧﺮﻳﺪ ﺃﻥ ﻧﺮﻯ ﺍﻟﻔﺘﺎﺓ ﺗﺄﺧﺬ ﺩﻭﺭﻫﺎ ﻓﻲ ﺍﳌﺸﺎﺭﻛﺔ ﻓﻲ ﺍﻷﻋﻤﺎﻝ ﺍﳌﺴﺮﺣﻴﺔ ﺍﳌﺆﺳﺴﻴﺔ‪ .‬ﺃﺭﻳﺪ ﺃﻥ ﺃﺭﻯ ﻣﺴﺮﺣﺎ‬
‫ﻓﻲ ﻛﻞ ﻣﺪﺭﺳﺔ‪ ،‬ﻭﻣﻌﻠﻤﺎ ﻣﺘﻤﻜﻨﺎ ﻣﻦ ﺍﻟﺪﺭﺍﻣﺎ‪ ،‬ﺃﺭﻳﺪ ﺃﻥ ﺃﺭﻯ ﻣﺴﺎﺭﺡ ﻟﻸﻃﻔﺎﻝ ﻓﻲ ﻛﻞ ﺣﺎﺭﺓ‪ ،‬ﻓﺎﳌﺴﺮﺡ ﻫﻮ ﺍﻟﻮﺳﻴﻠﺔ ﺍﳌﺜﻠﻰ ﻟﻠﺤﻮﺍﺭ ﻭﺍﳊﺮﻳﺔ ﻭﺍﻹﺑﺪﺍﻉ‪.‬‬
‫ﺍﻷﺳﺘﺎﺫ ﺩﻳﺎﺏ ﺍﻟﻬﻴﻤﻮﻧﻲ‪ ،‬ﺷﻜﺮﺍ ﺟﺰﻳﻼ ﳌﻨﺤﻚ ﺇﻳﺎﻧﺎ ﺑﻌﻀﺎ ﻣﻦ ﻭﻗﺘﻚ ﺍﻟﺜﻤﲔ‪.‬‬
‫‪ --‬ﺍﻟﻌﻔﻮ ﻭﺑﺎﺭﻙ ﺍﷲ ﻓﻲ ﺟﻬﻮﺩﻛﻢ ﺍﻟﺮﺍﺋﻌﺔ‪.‬‬

‫‪7‬‬
‫ﺇﻥ ﺍﻟﺜﻘﺔ ﻟﻴﺴﺖ ﺑﺎﻷﻣﺮ ﺍﻟﻴﺴﻴﺮ ﺍﻟﺬﻱ ﻳﺄﺗﻲ ﺑﲔ ﻳﻮﻡ ﻭﻟﻴﻠﺔ‪ ،‬ﻭﺍﻟﺸﺨﺺ ﺍﳌﻬﺰﻭﺯ ﻳﺤﺘﺎﺝ ﺇﻟﻰ ﺟﻬﺪ ﻛﺒﻴﺮ ﺣﺘﻰ ﻧﺘﻤﻜﻦ ﻣﻦ ﺇﺭﺟﺎﻉ ﺍﻟﺜﻘﺔ ﺇﻟﻴﻪ‪،‬‬
‫ﻟﺬﻟﻚ ﻻ ﺑﺪ ﺃﻥ ﻳﻌﻤﻞ ﺍﻟﻮﺍﻟﺪﺍﻥ ﻋﻠﻰ ﺯﺭﻉ ﺍﻟﺜﻘﺔ ﻓﻲ ﻧﻔﻮﺱ ﺃﺑﻨﺎﺋﻬﻤﺎ ﻣﻨﺬ ﺍﻟﺼﻐﺮ ﺣﺘﻰ ﺗﻜﻮﻥ ﻟﻬﻢ ﺷﺨﺼﻴﺘﻬﻢ ﺍﻟﻘﻮﻳﺔ ﺍﻟﻮﺍﺛﻘﺔ ﻣﻦ ﻧﻔﺴﻬﺎ‪.‬‬
‫ﻭﻓﻴﻤﺎ ﻳﻠﻲ ﺧﻤﺴﻮﻥ ﻓﻜﺮﺓ ﺳﻬﻠﺔ ﺍﻟﺘﻄﺒﻴﻖ ﻹﺩﺧﺎﻝ ﺍﻟﺜﻘﺔ ﻓﻲ ﻧﻔﻮﺱ ﺍﻷﺑﻨﺎﺀ‪:‬‬

‫ﺧﻤﺴﻮن ﻓﻜﺮة ﻟﺰرع اﻟﺜﻘﺔ ﻓﻲ اﺑﻨِﻚ‬

‫ﺍﻣﺪﺡ ﺃﻋﻤﺎﻟﻪ ﻭﺇﳒﺎﺯﺍﺗﻪ ﻭﻋﻠﻤﻪ ﻛﺘﺎﺑﺘﻬﺎ‪.‬‬ ‫‪.32‬‬ ‫ﺍﻣﺪﺡ ﻃﻔﻠﻚ ﺃﻣﺎﻡ ﺍﻟﻐﻴﺮ‪.‬‬ ‫‪.1‬‬
‫ﻋﻠﻤﻪ ﻛﻴﻒ ﻳﺘﻌﺎﻣﻞ ﻣﻊ ﺍﳊﻴﻮﺍﻧﺎﺕ ﺍﻷﻟﻴﻔﺔ‪.‬‬ ‫‪.33‬‬ ‫ﻻ ﲡﻌﻠﻪ ﻳﻨﺘﻘﺪ ﻧﻔﺴﻪ‪.‬‬ ‫‪.2‬‬
‫ﺍﻋﺘﺬﺭ ﻟﻪ ﻋﻦ ﺃﻱ ﺧﻄﺄ ﻭﺍﺿﺢ ﻳﺼﺪﺭ ﻣﻨﻚ‪.‬‬ ‫‪.34‬‬ ‫ﻗﻞ ﻟﻪ »ﻟﻮ ﺳﻤﺤﺖ« ﻭ »ﺷﻜﺮﺍ«‪.‬‬ ‫‪.3‬‬
‫ﺍﺟﻌﻞ ﻟﻪ ﻳﻮﻣﺎ ﻓﻴﻪ ﻣﻔﺎﺟﺂﺕ‪.‬‬ ‫‪.35‬‬ ‫ﻋﺎﻣﻠﻪ ﻛﻄﻔﻞ ﻭﺩﻋﻪ ﻳﻌﻴﺶ ﻃﻔﻮﻟﺘﻪ‪.‬‬ ‫‪.4‬‬
‫ﻋﻮﺩﻩ ﻋﻠﻰ ﻗﺮﺍﺀﺓ ﺍﻟﻘﺮﺁﻥ ﻛﻞ ﻳﻮﻡ‪.‬‬ ‫‪.36‬‬ ‫ﺳﺎﻋﺪﻩ ﻓﻲ ﺍﺗﺨﺎﺫ ﺍﻟﻘﺮﺍﺭ ﺑﻨﻔﺴﻪ‪.‬‬ ‫‪.5‬‬
‫ﺃﺧﺒﺮﻩ ﺍﻧﻚ ﲢﺒﻪ ﻭﺿﻤﻪ ﺇﻟﻰ ﺻﺪﺭﻙ‪.‬‬ ‫‪.37‬‬ ‫ﻋﻠﻤﻪ ﺍﻟﺴﺒﺎﺣﺔ‪.‬‬ ‫‪.6‬‬
‫ﻋﺮﻓﻪ ﺑﻘﻮﺓ ﺍﻟﺒﺮﻛﺔ ﻭﺃﻫﻤﻴﺔ ﺍﻟﺪﻋﺎﺀ‪.‬‬ ‫‪.38‬‬ ‫ﺍﺟﻌﻠﻪ ﺿﻴﻒ ﺍﻟﺸﺮﻑ ﻓﻲ ﺇﺣﺪﻯ ﺍﳌﻨﺎﺳﺒﺎﺕ‪.‬‬ ‫‪.7‬‬
‫ﺍﺟﻌﻠﻪ ﻳﻠﻌﺐ ﺩﻭﺭ ﺍﳌﺪﺭﱢﺱ ﻭﺃﻧﺖ ﺍﻟﺘﻠﻤﻴﺬ‪.‬‬ ‫‪.39‬‬ ‫ﺍﺳﺄﻟﻪ ﻋﻦ ﺭﺃﻳﻪ ﻭﺷﺎﻭﺭﻩ ﻓﻲ ﺑﻌﺾ ﺍﻷﻣﻮﺭ‪.‬‬ ‫‪.8‬‬
‫ﺷﺎﻃﺮﻩ ﺃﺣﻼﻣﻪ ﻭﻃﻤﻮﺣﺎﺗﻪ ﻭﺷﺠﻌﻪ ﻋﻠﻰ ﺍﻟﺘﻤﻨﹼﻲ‪.‬‬ ‫‪.40‬‬ ‫ﻋﻠﻤﻪ ﻛﻴﻒ ﻳﻘﺮﺃ ﺍﻟﺘﻌﻠﻴﻤﺎﺕ ﻭﻳﺘﺒﻌﻬﺎ‪.‬‬ ‫‪.9‬‬
‫ﺍﺟﻌﻞ ﻟﻪ ﺭﻛﻨﺎ ﻓﻲ ﺍﳌﻨﺰﻝ ﻷﻋﻤﺎﻟﻪ ﻭﺍﻛﺘﺐ ﺍﺳﻤﻪ ﻋﻠﻰ‬ ‫‪.41‬‬ ‫ﻋﻠﻤﻪ ﻣﻬﺎﺭﺓ ﺍﻹﺳﻌﺎﻑ ﺍﻷﻭﻟﻴﺔ‪.‬‬ ‫‪.10‬‬
‫ﺇﳒﺎﺯﺍﺗﻪ‪.‬‬ ‫ﺃﺟﺐ ﻋﻦ ﺟﻤﻴﻊ ﺃﺳﺌﻠﺘﻪ‪.‬‬ ‫‪.11‬‬
‫ﺳﺎﻋﺪﻩ ﻓﻲ ﻛﺴﺐ ﺍﻟﺼﺪﺍﻗﺎﺕ‪ ،‬ﻓﺈﻥ ﺍﻷﻃﻔﺎﻝ ﻫﺬﻩ ﺍﻷﻳﺎﻡ ﻻ‬ ‫‪.42‬‬ ‫ﺃﻭﻑ ﺑﻮﻋﺪﻙ ﻟﻪ‪.‬‬ ‫‪.12‬‬
‫ﻳﻌﺮﻓﻮﻥ ﻛﻴﻒ ﻳﺨﺘﺎﺭﻭﻥ ﺃﺻﺪﻗﺎﺀﻫﻢ‪.‬‬ ‫ﻋﻠﻤﻪ ﻛﻴﻒ ﻳﻌﻤﻞ ﺿﻤﻦ ﻣﺠﻤﻮﻋﺔ ﺃﻭ ﻓﺮﻳﻖ‪.‬‬ ‫‪.13‬‬
‫ﺍﺟﻌﻠﻪ ﻳﺸﻌﺮ ﺑﺄﻫﻤﻴﺘﻪ ﻭﻣﻜﺎﻧﺘﻪ ﻭﺃﻥ ﻟﻪ ﻗﺪﺭﺍﺕ ﻭﻫﺒﻬﺎ‬ ‫‪.43‬‬ ‫ﺷﺠﻌﻪ ﻋﻠﻰ ﺗﻮﺟﻴﻪ ﺍﻷﺳﺌﻠﺔ‪.‬‬ ‫‪.14‬‬
‫ﺍﷲ ﻟﻪ‪.‬‬ ‫ﺍﺟﻌﻠﻪ ﻳﺸﻌﺮ ﺃﻥ ﻟﻪ ﻣﻜﺎﻧﺔ ﺑﲔ ﺃﺻﺪﻗﺎﺋﻪ‪.‬‬ ‫‪.15‬‬
‫ﻋﻠﻤﻪ ﺃﻥ ﻳﺼﻠﻲ ﻣﻌﻚ ﻭﺍﻏﺮﺱ ﻓﻴﻪ ﻣﺒﺎﺩﺉ ﺍﻹﳝﺎﻥ ﺑﺎﷲ‪.‬‬ ‫‪.44‬‬ ‫ﺃﻓﺼﺢ ﻟﻪ ﻋﻦ ﺃﺳﺒﺎﺏ ﺃﻱ ﻗﺮﺍﺭ ﺗﺘﺨﺬﻩ‪.‬‬ ‫‪.16‬‬
‫ﻋﻠﻤﻪ ﻣﻬﺎﺭﺍﺕ ﺇﺑﺪﺍﺀ ﺍﻟﺮﺃﻱ ﻭﺍﻟﺘﻘﺪﱘ ﻭﻛﻴﻒ ﻳﺘﻜﻠﻢ ﻭﻳﻌﺮﺽ‬ ‫‪.45‬‬ ‫ﻛﻦ ﻓﻲ ﺃﻭﻝ ﻳﻮﻡ ﻣﻦ ﺃﻳﺎﻡ ﺍﳌﺪﺭﺳﺔ ﻣﻌﻪ‪.‬‬ ‫‪.17‬‬
‫ﻣﺎ ﻋﻨﺪﻩ ﻟﻠﻨﺎﺱ‪.‬‬ ‫ﺍﺭﻭﹺ ﻟﻪ ﻗﺼﺼﺎ ﻣﻦ ﺃﻳﺎﻡ ﻃﻔﻮﻟﺘﻚ‪.‬‬ ‫‪.18‬‬
‫ﻋﻠﻤﻪ ﻛﻴﻒ ﻳﻀﻊ ﻟﻨﻔﺴﻪ ﻣﺒﺎﺩﺉ ﻭﻭﺍﺟﺒﺎﺕ ﻭﻛﻴﻒ‬ ‫‪.46‬‬ ‫ﻋﻠﻤﻪ ﻛﻴﻒ ﳝﻜﻦ ﺍﻟﻌﺜﻮﺭ ﻋﻠﻴﻪ ﺇﺫﺍ ﺿﺎﻉ‪.‬‬ ‫‪.19‬‬
‫ﻳﺘﺒﻌﻬﺎ ﻭﻳﻨﻔﺬﻫﺎ ﻭﻳﺘﻤﺴﻚ ﺑﻬﺎ‪.‬‬ ‫ﻋﻠﻤﻪ ﻛﻴﻒ ﻳﺮﻓﺾ ﻭﻳﻘﻮﻝ »ﻻ« ﻟﻠﺨﻄﺄ‪.‬‬ ‫‪.20‬‬
‫ﻋﻠﻤﻪ ﻣﻬﺎﺭﺓ ﺍﻟﻄﺒﺦ ﺍﻟﺒﺴﻴﻂ ﻛﺴﻠﻖ ﺍﻟﺒﻴﺾ ﻭﻗﻠﻲ‬ ‫‪.47‬‬ ‫ﻋﻠﻤﻪ ﻛﻴﻒ ﳝﻨﺢ ﻭﻳﻌﻄﻲ‪.‬‬ ‫‪.21‬‬
‫ﺍﻟﺒﻄﺎﻃﺲ ﻭﺗﺴﺨﲔ ﺍﳋﺒﺰ ﻭﻏﻴﺮﻫﺎ‪.‬‬ ‫ﺃﻋﻄﻪ ﻣﺎﻻ ﹰ ﻳﻜﻔﻴﻪ ﻟﻠﺘﺼﺮﻑ ﻋﻨﺪ ﺍﳊﺎﺟﺔ‪.‬‬ ‫‪.22‬‬
‫ﺍﺷﺮﺡ ﻟﻪ ﻭﻭﺿﺢ ﻟﻪ ﻣﺎ ﻳﺴﺄﻝ ﻋﻨﻪ ﻣﻦ ﺷﺒﻬﺎﺕ ﻭﺷﻜﻮﻙ‬ ‫‪.48‬‬ ‫ﺷﺠﻌﻪ ﻋﻠﻰ ﺍﳊﻔﻆ ﻭﺍﻻﺳﺘﺬﻛﺎﺭ ﻭﻻ ﲡﺒﺮﻩ‪.‬‬ ‫‪.23‬‬
‫ﻓﻲ ﻧﻔﺴﻪ‪.‬‬ ‫ﻋﻠﻤﻪ ﻛﻴﻒ ﻳﺪﺍﻓﻊ ﻋﻦ ﻧﻔﺴﻪ ﻭﺟﺴﺪﻩ‪.‬‬ ‫‪.24‬‬
‫ﺁﻥ ﻣﻌﺎ ﻣﻊ ﻣﻌﺮﻓﺔ‬ ‫ﹴ‬ ‫ﻓﻲ‬ ‫ﻭﺫﻟﻚ‬ ‫ﻭﻟﻪ‬ ‫ﻟﻚ‬ ‫ﺟﺪﻳﺪﺍ‬ ‫ﺟﺮﺏ ﺷﻴﺌﺎ‬ ‫‪.49‬‬ ‫ﻻ ﺗﻬﺪﺩﻩ ﻋﻠﻰ ﺍﻹﻃﻼﻕ‪.‬‬ ‫‪.25‬‬
‫ﺍﻟﻨﺘﺎﺋﺞ ﻣﺴﺒﻘﺎ‪.‬‬ ‫ﺃﻋﻄﻪ ﲢﺬﻳﺮﺍﺕ ﻣﺴﺒﻘﺔ‪.‬‬ ‫‪.26‬‬
‫ﻋﻠﻤﻪ ﻋﻦ ﺍﺧﺘﻼﻑ ﺍﳉﻨﺴﲔ ﺑﲔ ﺍﻟﺬﻛﺮ ﻭﺍﻷﻧﺜﻰ ﻣﺴﺘﻌﻴﻨﺎ‬ ‫‪.50‬‬ ‫ﻋﻠﻤﻪ ﻛﻴﻒ ﻳﻮﺍﺟﻪ ﺍﻟﻔﺸﻞ‪.‬‬ ‫‪.27‬‬
‫ﹴ‬
‫ﺑﻮﺣﻲ ﻣﻦ ﺍﻟﻘﺮﺁﻥ ﺍﻟﻜﺮﱘ‪.‬‬ ‫ﻋﻠﻤﻪ ﻛﻴﻒ ﻳﺴﺘﺜﻤﺮ ﻣﺎﻟﻪ‪.‬‬ ‫‪.28‬‬
‫ﺍﺧﺘﻴﺎﺭ‪ :‬ﻣﺤﻤﺪ ﻋﻴﺴﻰ‬ ‫ﻋﻠﻤﻪ ﻛﻴﻒ ﻳﺼﻠﺢ ﺃﻏﺮﺍﺿﻪ ﻭﻳﺮﺗﺒﻬﺎ‪.‬‬ ‫‪.29‬‬
‫ﺍﳌﺪﻳﺮ ﺍﻹﺩﺍﺭﻱ ﻟﻠﻤﺴﺮﺡ‬ ‫ﻋﻠﻤﻪ ﺍﻟﻘﻴﻢ ﻭﺍﳌﺒﺎﺩﺉ ﺍﻟﺴﻠﻴﻤﺔ ﻭﺍﻟﻜﺮﳝﺔ‪.‬‬ ‫‪.30‬‬
‫ﻋﻠﻤﻪ ﻛﻴﻒ ﻳﺘﺤﻤﻞ ﻣﺴﺆﻭﻟﻴﺔ ﺗﺼﺮﻓﺎﺗﻪ‪.‬‬ ‫‪.31‬‬

‫‪8‬‬
 ‫اﻟﻌـﺒـﺜـﻴـّـﺔ‬
‫ﺍﻟﻌﺒﺜﻴﺔ ﻣﺪﺭﺳﺔ ﺃﺩﺑﻴﺔ ﻓﻜﺮﻳﺔ‪ ،‬ﺗﺪﻋﻲ ﺃﻥ ﺍﻹﻧﺴﺎﻥ ﺿﺎﺋﻊ ﻟﻢ ﻳﻌﺪ ﻟﺴﻠﻮﻛﻪ ﻣﻌﻨﻰ ﻓﻲ ﺍﳊﻴﺎﺓ ﺍﳌﻌﺎﺻﺮﺓ‪ ،‬ﻭﻟﻢ ﻳﻌﺪ ﻷﻓﻜﺎﺭﻩ ﻣﻀﻤﻮﻥ ﻭﺇﳕﺎ ﻳﺠﺘ ﹼﺮ ﺃﻓﻜﺎﺭﻩ ﻷﻧﻪ‬
‫ﻓﻘﺪ ﺍﻟﻘﺪﺭﺓ ﻋﻠﻰ ﺭﺅﻳﺔ ﺍﻷﺷﻴﺎﺀ ﺑﺤﺠﻤﻬﺎ ﺍﻟﻄﺒﻴﻌﻲ ﻧﺘﻴﺠﺔ ﻟﻠﺮﻏﺒﺔ ﻓﻲ ﺳﻴﻄﺮﺓ ﺍﻵﻟﺔ ﻋﻠﻰ ﺍﳊﻴﺎﺓ ﻟﺘﻜﻮﻥ ﻓﻲ ﺧﺪﻣﺔ ﺍﻹﻧﺴﺎﻥ ﺣﻴﺚ ﺍﻧﻘﻠﺐ ﺍﻷﻣﺮ ﻓﺄﺻﺒﺢ‬
‫ﺍﻹﻧﺴﺎﻥ ﻓﻲ ﺧﺪﻣﺔ ﺍﻵﻟﺔ‪ ،‬ﻭﲢﻮﻝ ﺍﻟﻨﺎﺱ ﺇﻟﻰ ﺗﺮﻭﺱ ﻓﻲ ﻫﺬﻩ ﺍﻵﻟﺔ ﺍﻻﺟﺘﻤﺎﻋﻴﺔ ﺍﻟﻜﺒﻴﺮﺓ‪ .‬ﻭﺟﺎﺀﺕ ﻣﺪﺭﺳﺔ ﺍﻟﻌﺒﺚ ﻛﻤﺮﺁﺓ ﺗﻌﻜﺲ ﻭﺗﻜ ﱢﺒﺮ ﻣﺎ ﻳﻌﺎﻧﻲ ﻣﻨﻪ ﺇﻧﺴﺎﻥ‬
‫ﺍﻟﻨﺼﻒ ﺍﻟﺜﺎﻧﻲ ﻣﻦ ﺍﻟﻘﺮﻥ ﺍﻟﻌﺸﺮﻳﻦ ﻋﻦ ﻃﺮﻳﻖ ﲡﺴﻴﺪﻩ ﻓﻲ ﺃﻋﻤﺎﻝ ﻣﺴﺮﺣﻴﺔ ﻭﺭﻭﺍﻳﺔ ﺷﻌﺮﻳﺔ‪ ،‬ﻟﻌﻠﻪ ﻳﻨﺠﺢ ﻓﻲ ﺍﻟﺘﺨﻠﺺ ﻣﻦ ﻫﺬﺍ ﺍﻻﻧﻔﻼﺕ ﻓﻲ ﺣﻴﺎﺗﻪ‬
‫ﻓﻴﺘﻮﻟﺪ ﻟﺪﻳﻪ ﺍﻻﻧﺴﺠﺎﻡ ﻭﺍﻟﻔﻬﻢ ﳌﺎ ﻳﺤﺪﺙ‪.‬‬
‫ﺍﻟﺘﺄﺳﻴﺲ ﻭﺃﺑﺮﺯ ﺍﻟﺸﺨﺼﻴﺎﺕ‪:‬‬
‫ﻧﺸﺄ ﻣﺬﻫﺐ ﺍﻟﻌﺒﺚ ﻓﻲ ﺍﻷﺩﺏ ﺍﻷﻭﺭﻭﺑﻲ ﻭﺍﻧﺘﻘﻞ ﺇﻟﻰ ﺍﻵﺩﺍﺏ ﺍﻟﻌﺎﳌﻴﺔ ﺍﳌﻌﺎﺻﺮﺓ ﺑﺼﻔﺔ ﻋﺎﻣﺔ‪ ،‬ﻭﺍﻟﺪﻭﻝ ﺍﻟﺘﻲ ﻋﺎﻧﺖ ﻣﻦ ﺍﳊﺮﺏ ﺍﻟﻌﺎﳌﻴﺔ‬ ‫•‬
‫ﺍﻷﻭﻟﻰ ﻭﺍﻟﺜﺎﻧﻴﺔ ﺑﺼﻔﺔ ﺧﺎﺻﺔ‪ ،‬ﻭﻫﻲ ﺍﻟﺪﻭﻝ ﺍﻟﺘﻲ ﻓﻘﺪﺕ ﺛﻘﺘﻬﺎ ﻓﻲ ﻣﺠﺮﺩ ﺍﳌﺴﻠﻚ ﺍﻟﻌﻘﻠﻲ ﺍﳌﻨﻄﻘﻲ ﺍﻟﺬﻱ ﳝﻜﻦ ﺃﻥ ﻳﺪﻣﺮ ﻓﻲ ﳊﻈﺎﺕ‬
‫ﻛﻞ ﻣﺎ ﻳﺒﻨﻴﻪ ﺍﻹﻧﺴﺎﻥ ﻣﻦ ﻣﺪﻧﻴﺔ ﻋﻨﺪﻣﺎ ﲢﻜﻤﻪ ﺷﻬﻮﺓ ﺍﻟﺴﻴﻄﺮﺓ ﻭﺍﻟﺘﺪﻣﻴﺮ‪ ،‬ﻛﻤﺎ ﻓﻌﻞ ﻫﺘﻠﺮ ﻓﻲ ﺍﳊﺮﺏ ﺍﻟﻌﺎﳌﻴﺔ ﺍﻟﺜﺎﻧﻴﺔ‪.‬‬
‫ﻭﻣﻦ ﺃﺑﺮﺯ ﺷﺨﺼﻴﺎﺕ ﻣﺬﻫﺐ ﺍﻟﻌﺒﺚ ﺍﻟﻔﺮﻧﺴﻴﲔ‪:‬‬ ‫•‬
‫ﺻﺎﻣﻮﻳﻞ ﺑﻴﻜﻴﺖ ‪1906‬ﻡ‪ ،‬ﺍﻟﺮﺍﺋﺪ ﺍﻷﻭﻝ ﳌﺬﻫﺐ ﺍﻟﻌﺒﺚ‪ ،‬ﻭﻗﺪ ﺃﻟﻒ ﻓﻲ ﺟﻤﻴﻊ ﺍﻷﺷﻜﺎﻝ ﺍﻷﺩﺑﻴﺔ‪ ،‬ﻭﻣﻨﺢ ﺟﺎﺋﺰﺓ ﻧﻮﺑﻞ ﻋﺎﻡ ‪1969‬ﻡ‪.‬‬ ‫•‬
‫ﺃﻭﺟﲔ ﻳﻮﻧﺴﻜﻮ ‪1912‬ﻡ‪ ،‬ﻭﻫﻮ ﻛﺎﺗﺐ ﻓﺮﻧﺴﻲ ﻭﻳﻌﺪ ﻣﻦ ﺃﺭﻛﺎﻥ ﻣﺴﺮﺡ ﺍﻟﻼﻣﻌﻘﻮﻝ‪.‬‬ ‫•‬
‫ﺍﳉﺬﻭﺭ ﺍﻟﻔﻜﺮﻳﺔ ﻭﺍﻟﻌﻘﺎﺋﺪﻳﺔ‪:‬‬
‫• ﺗﻌﺪ ﻣﺪﺭﺳﺔ ﺍﻟﺴﺮﻳﺎﻟﻴﺔ ﺍﻟﻔﺮﻧﺴﻴﺔ ﺍﻷﺳﺎﺱ ﳌﺬﻫﺐ ﺍﻟﻌﺒﺚ‪ ،‬ﳌﺎ ﲢﻮﻳﻪ ﻣﻦ ﺷﻄﺤﺎﺕ ﺍﻟﻌﻘﻞ ﺍﻟﺒﺎﻃﻦ ﻭﻫﻠﻮﺳﺔ ﻋﺎﻟﻢ ﺍﻷﺣﻼﻡ ﺍﻟﺰﺍﺧﺮ‬
‫ﺑﺎﻟﻬﻮﺍﺟﺲ ﻭﺍﻵﻻﻡ ﻭﺍﻵﻣﺎﻝ‪ .‬ﻛﻤﺎ ﺗﻌﺪ ﺍﳌﺪﺭﺳﺔ ﺍﻟﺮﻣﺰﻳﺔ ﻣﻦ ﺟﺬﻭﺭ ﻣﺬﻫﺐ ﺍﻟﻌﺒﺚ ﻭﻣﺎ ﲢﻮﻳﻪ ﻣﻦ ﺻﻮﺭ ﻣﺸﻮﺷﺔ ﻣﻀﻄﺮﺑﺔ ﲡﻤﻊ‬
‫ﺑﲔ ﺍﳉﻤﺎﻝ ﻭﺍﻟﻘﺒﺢ ﻭﺍﻷﺳﻄﻮﺭﺓ ﻭﺍﻟﻮﺍﻗﻊ‪ ،‬ﻛﺬﻟﻚ ﻓﺈﻥ ﺁﺭﺍﺀ ﻓﺮﻭﻳﺪ ﺍﻟﻨﻔﺴﻴﺔ ﻭﻣﺎ ﲢﻮﻳﻪ ﻣﻦ ﺇﻳﺤﺎﺀﺍﺕ ﻭﺃﺣﻼﻡ ﻧﺘﻴﺠﺔ ﲢﻠﻴﻠﻪ ﺍﻟﻨﻔﺴﻲ‬
‫ﻟﻠﻤﺮﺿﻰ ﻭﺍﳌﻌﺘﻮﻫﲔ ﺗﻌﺘﺒﺮ ﻣﻦ ﺍﳉﺬﻭﺭ ﺍﻟﻔﻜﺮﻳﺔ ﳌﺬﻫﺐ ﺍﻟﻌﺒﺚ‪.‬‬
‫ﺃﻣﺎﻛﻦ ﺍﻻﻧﺘﺸﺎﺭ‪ :‬ﺑﺪﺃ ﻣﺬﻫﺐ ﺍﻟﻌﺒﺜﻴﺔ ﻓﻲ ﻓﺮﻧﺴﺎ ﺛﻢ ﺍﻧﺘﺸﺮ ﻓﻲ ﺃﻭﺭﻭﺑﺎ ﻭﺍﻟﻌﺎﻟﻢ ﺍﻟﻐﺮﺑﻲ‪.‬‬
‫ﻭﻳﺘﻀﺢ ﳑﺎ ﺳﺒﻖ ‪:‬ﺃﻥ ﺍﻟﻌﺒﺜﻴﺔ ﻣﺪﺭﺳﺔ ﺃﺩﺑﻴﺔ ﻓﻜﺮﻳﺔ ﻻ ﺗﻘﻴﺪ ﻧﻔﺴﻬﺎ ﺑﻜﺜﻴﺮ ﻣﻦ ﻗ ﹶﻴﻢ ﺍﻹﻧﺴﺎﻧﻴﺔ‪ ،‬ﻭﻻ ﺗﺮﻯ ﺃﻥ ﻫﻨﺎﻙ ﺃﻱ ﻣﻀﻤﻮﻥ ﺣﻘﻴﻘﻲ ﻭﺭﺍﺀ ﺍﻟﺴﻠﻮﻙ‬
‫ﺍﻹﻧﺴﺎﻧﻲ ﺍﻟﺬﻱ ﲢﻠﻞ ﻓﻲ ﺍ‪‬ﺘﻤﻊ ﺍﻟﻐﺮﺑﻲ‪ .‬ﻭﻗﺪ ﺗﺄﺛﺮﺕ ﻫﺬﻩ ﺍﳌﺪﺭﺳﺔ ﺑﺂﺭﺍﺀ ﻓﺮﻭﻳﺪ ﻓﻲ ﻋﻠﻢ ﺍﻟﻨﻔﺲ ﺍﻟﺘﺤﻠﻴﻠﻲ ﻭﻣﺎ ﻓﻴﻪ ﻣﻦ ﺃﺣﻼﻡ ﻭﺃﻭﻫﺎﻡ ﻭﺧﻴﺎﻻﺕ‪ ،‬ﻭﺗﺮﻯ ﻭﺟﻮﺏ‬
‫ﺇﺗﺒﺎﻉ ﺃﺳﻠﻮﺏ ﺍﻟﻐﻤﻮﺽ ﻭﺍﻷﻟﻐﺎﺯ ﻓﻲ ﺍﻟﺘﻌﺒﻴﺮ ﺑﺤﻴﺚ ﻻ ﻳﻔﻬﻢ ﺍﻟﻨﻘﺎﺩ ﻧﺘﺎﺝ ﻫﺬﻩ ﺍﳌﺪﺭﺳﺔ ﺍﻟﺘﻲ ﻳﻘﻮﻡ ﻓﻜﺮﻫﺎ ﻋﻠﻰ ﺃﺳﺎﺱ ﺍﳋﻮﻑ ﻣﻦ ﺍﻟﻜﻮﻥ ﻭﺍﻟﺮﻫﺒﺔ ﻣﻨﻪ ‪-‬‬
‫ﺧﻮﻑ ﻳﻘﻀﻲ ﻋﻠﻰ ﻛﻞ ﺗﻔﻜﻴﺮ ﻋﻘﻼﻧﻲ‪ .‬ﻭﻣﻊ ﻛﻞ ﻣﺎ ﺗﻘﺪﻡ ﻓﺈﻧﻬﺎ ﺗﺮﺟﻊ ﺿﻴﺎﻉ ﺍﻹﻧﺴﺎﻥ ﻓﻲ ﺍﻟﻐﺮﺏ ﺇﻟﻰ ﺍﻟﻔﺮﺍﻍ ﺍﻟﺮﻭﺣﻲ‪ ،‬ﻭﻟﻜﻨﻬﺎ ﻻ ﺗﻠﺰﻡ ﻧﻔﺴﻬﺎ ﺑﺄﻳﺔ ﻗﻴﻢ‬
‫ﺩﻳﻨﻴﺔ ﺳﻠﻔﺎﹰ‪ ،‬ﻟﺬﺍ ﻭﺟﺐ ﺍﻟﻨﻈﺮ ﺇﻟﻰ ﻧﺘﺎﺟﻬﺎ ﺍﻟﻔﻜﺮﻱ ﺑﺤﺬﺭ ﻭﺍﻫﺘﻤﺎﻡ‪.‬‬

‫‪æ—Ã=á_…îŸÿ‬‬
‫ﻫﻞ ﺗﻌﻠﻢ؟‬
‫** ﺃﻥ ﺳﺮﻋﺔ ﺍﻟﻀﻮﺀ ﺗﺒﻠﻎ ‪ 300000‬ﻛﻠﻢ ﻓﻲ ﺍﻟﺴﺎﻋﺔ؟‬
‫** ﺃﻥ ﺍﻷﻟﻮﺍﻥ ﺍﻷﺳﺎﺳﻴﺔ ﺍﻟﺜﻼﺛﺔ ﻫﻲ ﺍﻷﺣﻤﺮ ﻭﺍﻷﺻﻔﺮ ﻭﺍﻷﺯﺭﻕ؟‬
‫** ﺃﻥ ﺍﻻﺳﻢ ﺍﻟﻌﺮﺑﻲ ﻟﺪﻭﻟﺔ ﻫﻨﻐﺎﺭﻳﺎ ﻫﻮ ﺍ‪‬ﺮ؟‬

‫ﻃﺮﺍﺋﻒ‬
‫** ﻭﺍﺣﺪ ﳊﻖ ﺣﺮﺍﻣﻲ ﺳﺒﻘﹸﻪ‪.‬‬
‫** ﻭﺍﺣﺪ ﺗﻌﺐ ﻣﻦ ﺍﳌﺸﻲ ﺻﺎﺭ ﻳﺠﺮﻱ‪.‬‬
‫** ﻭﺍﺣﺪ ﺃﺻﻠﻊ ﺃﺟﺎﻩ ﻭﻟﺪ ﺳﻤﺎﻩ ﻣﺸﻌﺮﺍﻧﻲ‪.‬‬

‫ﺃﺣﺎﺟﻲ ﻭﺃﻟﻐﺎﺯ‬
‫‪ .1‬ﻣﺎﺫﺍ ﻳﻔﻌﻞ ﺍﳌﺰﺍﺭﻉ ﺑﻌﺪ ﺃﻥ ﻳﻀﻊ ﻗﺪﻣﻪ ﺍﻟﻴﻤﻨﻰ ﻓﻲ ﺃﺭﺿﻪ؟‬

‫‪ .2‬ﻣﺎ ﺍﻟﺬﻱ ﻳﺸﺒﻪ ﻧﺼﻒ ﺍﻟﻘﻤﺮ؟‬

‫‪ .3‬ﻣﻦ ﺍﻟﺬﻱ ﻳﺘﻤﻨﻰ ﺃﻥ ﻳﻜﻮﻥ ﺃﻋﻮﺭﺍ؟‬

‫)ﺍﻹﺟﺎﺑﺎﺕ ﺃﺳﻔﻞ ﺍﻟﺼﻔﺤﺔ ﺑﺎﳌﻘﻠﻮﺏ(‬

‫‪ (1‬ﻳﻀﻊ ﻗﺪﻣﻪ ﺍﻟﻴﺴﺮﻯ‪ (2 .‬ﻧﺼﻔﻪ ﺍﻟﺜﺎﻧﻲ‪ (3 .‬ﺍﻷﻋﻤﻰ‪.‬‬

‫‪9‬‬
 ‫ﺁﻳﺎﺕ ﺍﺑﻮ ﻫﻮﺍﺵ ‪ ٥‬ﺳﻨﲔ ﺭﻭﺿﺔ‬
‫ﺍﻟﻬﺪﻯ ﺍﻟﻄﺒﻘﺔ‬

‫ﺍﺷﺠﺎﻥ ﺍﺑﻮ ﺣﻤﺎﺩ ‪ ١٣‬ﺳﻨﺔ‬ ‫ﺟﻬﺎﺩ ﺣﻨﺘﺶ ‪ ٤‬ﺳﻨﲔ ﺭﻭﺿﺔ‬

‫ﺍﻟﻬﺪﻯ ﺍﻟﻄﺒﻘﺔ‬

‫ﻋﺒﻴﺮ ﺍﻟﻜﺮﻛﻲ ‪١٢‬‬ ‫ﺩﻋﺎﺀ ﺍﺑﻮ ﻣﻠﺶ‬

‫ﺳﻨﺔ‬ ‫‪٢٠‬ﺳﻨﺔ ﻳﻄﺎ‬

‫ﺳﻴﺮﻳﻦ ﻋﻄﺎﻭﻧﺔ ‪ ١١‬ﺳﻨﺔ ﺑﻴﺖ ﻛﺎﺣﻞ‬ ‫ﺳﺎﺟﺪﺓ ﺍﺑﻮ ﺣﻤﺎﺩ ‪ ١٢‬ﺳﻨﺔ‬

‫‪10‬‬
‫ﺑﺪﻱ ﺃﺣﻜﻲ ﻋﻦ ﺍﻷﻃﻔﺎﻝ ﺍﻟﻠﻲ ﲟﺮ ﹼﻭﺍ ﺑﺄﺣﺰﺍﻥ ﻭﳊﻈﺎﺕ ﻛﺘﻴﺮﻩ ‪ ...‬ﳊﻈﺎﺕ ﻣﻦ ﺍﻟﺼﻤﺖ ‪ ...‬ﳊﻈﺎﺕ ﻣﻦ ﺍﳊﺰﻥ ‪...‬‬ ‫ﹼ‬ ‫ﻛﻠﻤﺎت‪...‬‬
‫ﳊﻈﺎﺕ ﻣﻦ ﺍﻟﺴﻌﺎﺩﺓ ‪ ...‬ﳊﻈﺎﺕ ﻣﻦ ﺍﻷﻣﻞ ‪ ...‬ﳊﻈﺎﺕ ﻣﻦ ﺍﻷﻟﻢ ‪ ...‬ﳊﻈﺎﺕ ﻣﻦ ﺍﻟﻨﺪﻡ ‪ ...‬ﳊﻈﺎﺕ ﻣﻦ ﺍﻷﻣﺎﻥ ‪...‬‬
‫ﳊﻈﺎﺕ ﻣﻦ ﺍﳋﻮﻑ ‪ ...‬ﳊﻈﺎﺕ ﻣﻦ ﺍﻟﻴﺄﺱ ‪ ...‬ﳊﻈﺎﺕ ﻣﻦ ﺍﻟﺒﻜﺎﺀ ‪ ...‬ﳊﻈﺎﺕ ﻣﻦ ﺍﻟﺴﻜﻮﺕ ‪ ...‬ﳊﻈﺎﺕ ﻣﻦ ﺍﻟﻐﻀﺐ‬
‫‪ ...‬ﳊﻈﺎﺕ ﺍﻷﻃﻔﺎﻝ ﻫﻲ ﳊﻈﺎﺗﻲ ﺃﻧﺎ‪ ،‬ﺃﻧﺎ ﻣﺜﻞ ﻛﻞ ﺍﻷﻃﻔﺎﻝ‪ ،‬ﺃﻧﺎ ﺳﻴﺮﻳﻦ ﻣﺤﻤﺪ ﺳﻼﻣﻪ ﻋﻄﺎﻭﻧﻪ ‪ ...‬ﻓﻌﻨﺪﻣﺎ‬
‫ﻳﺒﺘﻌﺪ ﺍﻷﻃﻔﺎﻝ ﻋﻦ ﺃﻣﻬﺎﺗﻬﻢ ﻳﺼﺮﺧﻮﻥ ‪ ...‬ﻋﻨﺪﻣﺎ ﻳﺘﻌﺐ ﺍﻷﻃﻔﺎﻝ ﻳﺼﺮﺧﻮﻥ ‪ ...‬ﻋﻨﺪﻣﺎ ﻳﻨﺎﻡ ﺍﻷﻃﻔﺎﻝ ﺧﺎﺭﺝ‬
‫ﺑﻴﻮﺗﻬﻢ ﻳﺼﺮﺧﻮﻥ ‪ ...‬ﻋﻨﺪﻣﺎ ﻳﻔﺮﺡ ﺍﻷﻃﻔﺎﻝ ﺃﻳﻀﺎ ﻳﺼﺮﺧﻮﻥ ‪ ...‬ﻋﻨﺪﻣﺎ ﻳﺬﻫﺐ ﺍﻟﻮﻃﻦ ﻣﻨﻬﻢ ﻳﺼﺮﺧﻮﻥ ‪...‬‬ ‫ﺍﻟﻄﺎﻟﺒﺔ ﺳﻴﺮﻳﻦ ﺍﻟﻌﻄﺎﻭﻧﻪ ‪ 11‬ﺳﻨﻪ‪،‬‬
‫ﻋﻨﺪﻣﺎ ﻳﺤﺰﻥ ﺍﻷﻃﻔﺎﻝ ﻳﺼﺮﺧﻮﻥ ‪ ...‬ﻋﻨﺪﻣﺎ ﻳﺒﻘﻰ ﺍﻷﻃﻔﺎﻝ ﻭﺣﺪﻫﻢ ﻳﺼﺮﺧﻮﻥ ‪ ...‬ﻓﻘﻂ ﻋﻨﺪﻣﺎ ﳝﻮﺕ ﺍﻷﻃﻔﺎﻝ‬ ‫ﻣﺪﺭﺳﺔ ﻧﺼﺎﺭ ﺍﻟﻌﺼﺎﻓﺮﺓ ﺍﻟﺜﺎﻧﻮﻳﺔ – ﺑﻴﺖ‬
‫ﻻ ﻳﺼﺮﺧﻮﻥ ‪ ...‬ﻓﻴﺎ ﺗﺮﻯ ﳌﻦ ﺳﻴﺸﻜﻮ ﺍﻷﻃﻔﺎﻝ؟ ‪ ...‬ﺍﻷﻃﻔﺎﻝ ﺩﺍﺋﻤﺎ ﻳﺼﺮﺧﻮﻥ‪ ،‬ﺍﻷﻃﻔﺎﻝ ﺩﺍﺋﻤﺎ ﻳﺬﺭﻓﻮﻥ ﺍﻟﺪﻣﻮﻉ ‪...‬‬ ‫ﻛﺎﺣﻞ‬
‫ﺃﻃﻔﺎﻝ ﻓﻠﺴﻄﲔ ﺣﺰﻳﻨﻮﻥ ﻣﺜﻠﻲ ‪...‬‬

‫ﻫﺬﻩ ﺍﳌﺴﺎﺑﻘﺔ ﺳﺘﻜﻮﻥ ﺯﺍﻭﻳﺔ ﺛﺎﺑﺘﺔ ﻓﻲ »ﻳﻠ ﹼﻼ ﻣﺴﺮﺡ«‪ .‬ﻭﻓﻴﻬﺎ ﻧﻄﺮﺡ ﺳﺆﺍﻻ ﻋﻠﻰ ﻗﺮﺍﺋﻨﺎ ﺍﻷﻋﺰﺍﺀ ﺑﲔ ‪16 – 8‬‬ ‫ﻣﺴﺎﺑﻘﺔ اﻟﻌﺪد‬
‫ﻋﺎﻣﺎ‪ .‬ﺗﺮﺳﻞ ﺍﻹﺟﺎﺑﺎﺕ ﻋﻠﻰ ﺇﳝﻴﻞ ﻣﺴﺮﺡ ﻧﻌﻢ‪ ،info@yestheatre.org :‬ﻫﻨﺎﻙ ﺛﻼﺙ ﻫﺪﺍﻳﺎ ﺑﻘﻴﻤﺔ ﻣﺌﺔ‬
‫ﺷﻴﻜﻞ ﻟﻠﻬﺪﻳﺔ ﺍﻟﻮﺍﺣﺪﺓ ﺑﺎﻧﺘﻈﺎﺭ ﺍﻟﻔﺎﺋﺰﻳﻦ‪ .‬ﺳﻴﺘﻢ ﺍﻹﻋﻼﻥ ﻋﻦ ﺍﻟﻔﺎﺋﺰﻳﻦ ﻭﺍﻹﺟﺎﺑﺔ ﻓﻲ ﺍﻟﻌﺪﺩ ﺍﻟﻘﺎﺩﻡ‪.‬‬

‫ﺣﻞ ﺃﺣﺠﻴﺔ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ‪ :‬ﻧﻘﻮﻡ ﺑﺘﺮﻗﻴﻢ ﺍﻷﻛﻴﺎﺱ ﻣﻦ ﺍﻟﻮﺍﺣﺪ ﻟﻠﻌﺸﺮﺓ‪ ،‬ﻧﺄﺧﺬ ﻣﻦ ﺍﻟﻜﻴﺲ ﺍﻷﻭﻝ ﺑﻨﻮﺭﺍ ﻭﺍﺣﺪﺍ‪،‬‬
‫ﻧﺄﺧﺬ ﻣﻦ ﺍﻟﻜﻴﺲ ﺍﻟﺜﺎﻧﻲ ﺑﻨﻮﺭﻳﻦ ﺍﺛﻨﲔ‪ ،‬ﻧﺄﺧﺬ ﻣﻦ ﺍﻟﻜﻴﺲ ﺍﻟﺜﺎﻟﺚ ﺛﻼﺛﺔ ﺑﻨﺎﻧﻴﺮ ‪ ...‬ﻭﻫﻜﺬﺍ ﺣﺘﻰ ﺍﻟﻜﻴﺲ‬
‫ﺍﻟﻌﺎﺷﺮ‪ ،‬ﳒﻤﻊ ‪ 55 = 1+2+3+4+5+6+7+8+9+10‬ﻏﺮﺍﻣﺎ‪ ،‬ﻧﻀﻊ ﺍﻟﺒﻨﺎﻧﻴﺮ ﻋﻠﻰ ﺍﳌﻴﺰﺍﻥ‪ ،‬ﺇﺫﺍ ﻛﺎﻥ ﻭﺯﻧﻬﺎ ‪ 56‬ﻏﺮﺍﻣﺎ‬
‫ﻳﻜﻮﻥ ﺍﻟﻜﻴﺲ ﺫﻱ ﺍﻟﺒﻨﺎﻧﻴﺮ ﺍﻟﺘﻲ ﻭﺯﻧﻬﺎ ﻏﺮﺍﻣﲔ ﺍﺛﻨﲔ ﻫﻮ ﺍﻟﻜﻴﺲ ﺍﻷﻭﻝ‪ ،‬ﺇﺫﺍ ﻛﺎﻥ ﻭﺯﻧﻬﺎ ‪ 57‬ﻏﺮﺍﻣﺎ ﻳﻜﻮﻥ ﺍﻟﻜﻴﺲ‬
‫ﺍﻟﺜﺎﻧﻲ ‪ ....‬ﻭﻫﻜﺬﺍ‪.‬‬

‫ﻭﺍﻟﻔﺎﺋﺰﻭﻥ ﲟﺴﺎﺑﻘﺔ ﺍﻟﻌﺪﺩ ﺍﻷﻭﻝ ﺑﺜﻼﺙ ﺟﻮﺍﺋﺰ ﻗﻴﻤﺔ ﻛﻞ ﻣﻨﻬﺎ ‪ 100‬ﺷﻴﻜﻞ ﻫﻢ‪:‬‬
‫** ﻳﺰﻥ ﺯﻳﻦ ﺍﻟﺪﻳﻦ ﺍﻟﻘﺼﺮﺍﻭﻱ‪ 15 :‬ﻋﺎﻣﺎ )ﻣﺪﺭﺳﺔ ﺍﻹﻣﺎﻡ ﻋﻠﻲ ﺍﻷﺳﺎﺳﻴﺔ ﻟﻠﺒﻨﲔ(‪.‬‬
‫‪ 15‬ﻋﺎﻣﺎ )ﻣﺪﺭﺳﺔ ﺍﻟﺸﻴﺦ ﻣﺤﻤﺪ ﻋﻠﻲ ﺍﳉﻌﺒﺮﻱ ﺍﻷﺳﺎﺳﻴﺔ ﻟﻠﺒﻨﲔ(‪.‬‬ ‫** ﻟﻴﺚ ﻣﻨﻘﺬ ﺃﺑﻮ ﺍﻟﻔﻴﻼﺕ‪:‬‬
‫‪ 15‬ﻋﺎﻣﺎ )ﻣﺪﺭﺳﺔ ﺳﻴﺪﺗﻨﺎ ﺳﺎﺭﺓ ﺍﻷﺳﺎﺳﻴﺔ ﻟﻠﺒﻨﺎﺕ(‪.‬‬ ‫** ﺁﻻﺀ ﺃﺣﻤﺪ ﺍﻟﺰﻏﻴﺮ‪:‬‬

‫ﺳﻘﻂ ﺭﺟﻞ ﻣﻦ ﻧﺎﻓﺬﺓ ﺑﻴﺘﻪ ﻓﻲ ﺍﻟﻄﺎﺑﻖ ﺍﻟﻌﺎﺷﺮ ﻭﻣﺎﺕ‪ ،‬ﺍﺣﺘﺎﺭ ﺍﶈﻘﻘﻮﻥ ﻓﻲ ﺣﻘﻴﻘﺔ ﺃﻥ ﺍﻟﺮﺟﻞ ﻗﺪ ﺍﻧﺘﺤﺮ ﺃﻡ‬ ‫وﺳﺆاﻟﻨﺎ ﻟﻬﺬا اﻟﻌﺪد ﻫﻮ‪:‬‬
‫ﺃﻥ ﻫﻨﺎﻙ ﻣﻦ ﺃﻟﻘﻰ ﺑﻪ ﻣﻦ ﺍﻟﻨﺎﻓﺬﺓ‪ ،‬ﻓﺎﺳﺘﻌﺎﻧﻮﺍ ﺑﺄﻓﻀﻞ ﻣﺤﻘﻖ ﻟﺪﻳﻬﻢ‪ ،‬ﺗﻘﺪﻡ ﺫﻟﻚ ﺍﶈﻘﻖ ﻣﻦ ﺍﻟﻨﺎﻓﺬﺓ ﺍﻟﺘﻲ‬
‫ﺳﻘﻂ ﻣﻨﻬﺎ ﺍﻟﻀﺤﻴﺔ‪ ،‬ﻓﺘﺤﻬﺎ‪ ،‬ﻭﺃﺷﻌﻞ ﺳﻴﺠﺎﺭﺓ ﻭﺃﻟﻘﻰ ﺑﻌﻮﺩ ﺍﻟﺜﻘﺎﺏ ﻣﻦ ﺍﻟﻨﺎﻓﺬﺓ ﻭﻋﻠﻰ ﺍﻟﻔﻮﺭ ﻗﺎﻝ‪ :‬ﻫﺬﺍ‬
‫ﺍﻟﺮﺟﻞ ﻟﻢ ﻳﻨﺘﺤﺮ ﺑﻞ ﺃﻥ ﻫﻨﺎﻙ ﻣﻦ ﺃﻟﻘﻰ ﺑﻪ ﻣﻦ ﺍﻟﻨﺎﻓﺬﺓ‪ .‬ﻓﻜﻴﻒ ﻋﺮﻑ ﺍﶈﻘﻖ ﺑﺄﻥ ﺍﻟﺮﺟﻞ ﻟﻢ ﻳﻨﺘﺤﺮ ﻭﺑﺄﻥ ﻫﻨﺎﻙ‬
‫ﻣﻦ ﺃﻟﻘﻰ ﺑﻪ ﻣﻦ ﺍﻟﻨﺎﻓﺬﺓ؟‬

‫‪11‬‬
‫أﻧﺎ وﻣﺴﺮح ﻧﻌﻢ‬
‫ﻓﻲ ﻛﺜﻴﺮ ﻣﻦ ﺍﻷﺣﻴﺎﻥ ﺍﻧﺘﺎﺑﺘﻨﺎ ﻣﺸﺎﻋﺮ ﻳﺄﺱ‪ ،‬ﺃﻭﺻﻠﺘﻨﺎ ﺇﻟﻰ ﻃﺮﻳﻖ ﻣﺴﺪﻭﺩ‪ ،‬ﺍﺗﻀﺢ ﻟﻨﺎ ﻓﻴﻬﺎ ﺃﻥ ﻻ ﺟﺪﻭﻯ ﳑﺎ ﻧﻔﻌﻞ‪ ،‬ﻭﻓﻲ ﻣﺮﺍﺕ‬ ‫•‬
‫ﺃﺧﺮﻯ ﻛﺎﻧﺖ ﻣﺸﺎﻋﺮ ﺍﻟﻔﺮﺡ ﻭﺍﻷﻣﻞ ﺗﺘﻤﻠﻜﻨﺎ ﺇﻟﻰ ﺩﺭﺟﺔ ﺇﺣﺴﺎﺳﻨﺎ ﺑﺄﻧﻨﺎ ﺍﻣﺘﻠﻜﻨﺎ ﻣﻔﺎﺗﻴﺢ ﺍﻟﺴﻌﺎﺩﺓ‪ ،‬ﺍﻣﺘﻠﻜﻨﺎ ﻣﻔﺎﺗﻴﺢ ﺗﻐﻴﻴﺮ‬
‫ﺍﻟﻌﺎﻟﻢ‪ .‬ﺑﲔ ﻳﺄﺱ ﻭﺇﺣﺒﺎﻁ‪ ،‬ﺃﻣﻞ ﻭﺗﻔﺎﺅﻝ ﺑﻘﻲ ﺍﻟﻬﺪﻑ ﻭﻳﺒﻘﻰ ﻣﺘﺠﻠﻴﺎ ﹰ ﻓﻲ ﻫﺆﻻﺀ ﺍﻷﻃﻔﺎﻝ‪ ،‬ﻟﻌﻠﻨﺎ ﻧﺰﺭﻉ ﺑﺬﺭﺓ ﻗﻤﺢ ﻓﻴﻬﻢ ﻗﺪ ﻻ‬
‫ﻧﺤﺼﺪ ﺳﻨﺒﻠﺘﻬﺎ ﻧﺤﻦ‪ ،‬ﺑﻞ ﺳﻴﻠﻌﺐ ﺃﻃﻔﺎﻟﻨﺎ ﻧﺤﻦ ﻓﻲ ﺑﻴﺎﺩﺭﻫﺎ ﻓﻲ ﺍﳌﺴﺘﻘﺒﻞ‪ .‬ﻟﻢ ﺗﻜﻦ ﲡﺮﺑﺘﻲ ﻓﻲ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﺗﺒﺪﻭ ﻟﻲ‬
‫ﲡﺮﺑﺔ ﻣﺴﺮﺣ ﹼﻴﺔ ﻓﺤﺴﺐ‪ ،‬ﺑﻞ ﻫﻲ ﲡﺮﺑﺔ ﺟﺪﻳﺪﺓ ﻟﻠﺤﻴﺎﺓ ﺧﻼﻝ ﺳﺎﻋﺎﺕ ﻣﺤﺪﺩﺓ ﻓﻲ ﻳﻮﻡ ﻣﺤﺪﺩ ﺿﻤﻦ ﻣﻜﺎﻥ ﻣﺤﺪﺩ‪ ،‬ﻳﺘﻴﺢ ﻟﻨﺎ ﻣﻦ‬
‫ﺧﻼﻝ ﺗﺸﻜﻠﻪ ﻓﻲ ﺍﻷﺫﻫﺎﻥ ﺃﻥ ﻧﺘﺠﺎﻭﺯﻩ ﺇﻟﻰ ﺃﺑﻌﺪ ﳑﺎ ﻧﺘﺨ ﹼﻴﻞ‪ .‬ﻭﻫﻨﺎ ﺃﺷﻜﺮ ﻛﻞ ﻣﻦ ﺳﺎﻫﻢ ﻓﻲ ﺗﻌﻠﻴﻤﻲ ﺣﺮﻓﺎﹰ‪ ،‬ﻭﺃﻋﺘﺒﺮ ﻛﻞ ﻣﻦ ﻓﻲ‬
‫ﺟﺰﻱﺀ ﺍﻟﻜﻞ ﺑﻞ ﺳﺄﺷﻜﺮﻫﻢ ﺑﺮﻭﺡ ﺍﳉﻤﺎﻋﺔ ﺍﻟﺘﻲ ﳌﺴﺘﻬﺎ ﻣﻨﻬﻢ ﻋﻠﻰ ﻫﺬﻩ ﺍﻟﻔﺮﺻﺔ‬ ‫ﻛﻞ ﻣﺘﻜﺎﻣﻞ‪ ،‬ﻟﺬﻟﻚ ﻟﻦ ﺃ ﹸ ﹼ‬ ‫»ﻣﺴﺮﺡ ﻧﻌﻢ« ﹲ‬
‫ﺍﻟﺮﺍﺋﻌﺔ‪.‬‬
‫ﻣﻨﺎﺭ ﺍﻟﺒﻼﺻﻲ‬
‫ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ »ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ«‬
‫ﻓﻌﻼﹰ ﻧﻌﻢ‪ ..‬ﻧﻌﻢ ﻟﺘﻄﻮﻳﺮ ﺍﻟﺬﺍﺕ‪ ..‬ﻧﻌﻢ ﻟﺘﻌ ﱡﻠﻢ ﺃﺷﻴﺎﺀ ﺟﺪﻳﺪﺓ‪...‬‬ ‫•‬
‫ﻧﻌﻢ ﻟﻨﺰﻳﺪ ﻣﻦ ﺧﺒﺮﺍﺗﻨﺎ‪ ..‬ﻧﻌﻢ ﻟﻨﺮﻓﻊ ﻣﻦ ﻗﺪﺭﺍﺗﻨﺎ‪ ..‬ﻧﻌﻢ ﻟﻨﺘﻌﻠﻢ ﻣﻦ ﻏﻴﺮﻧﺎ ﺣﺘﻰ ﻧﺴﺘﻄﻴﻊ ﺗﻌﻠﻴﻢ ﻏﻴﺮﹺﻧﺎ‪ ..‬ﻧﻌﻢ ﻟﻜﻞ ﺷﺨﺺ‬
‫ﻳﺤﺎﻭﻝ ﺍﻟﺮﻓﻊ ﻣﻦ ﻗﺪﺭﺍﺕ ﺍﻵﺧﺮﻳﻦ ﻭﺇﻛﺴﺎﺑﻬﻢ ﻣﻬﺎﺭﺍﺕ ﺟﺪﻳﺪﺓ‪ ..‬ﻧﻌﻢ ﳌﺴﺮﺡ ﻧﻌﻢ ‪ ...‬ﻧﻌﻢ ‪...‬‬
‫ﺣﻜﻤﺖ ﺍﻟﻘﻮﺍﺳﻤﻲ‬
‫ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‬

‫‪12‬‬
‫أﻧﺎ وﻣﺴﺮح ﻧﻌﻢ‬
‫ﻣﻦ ﺍﳌﺪﺭﺳﺔ ﻭﺣﺘﻰ ﺍﳉﺎﻣﻌﺔ‪ ..‬ﻓﻲ ﺍﻟﺒﻴﺖ ﻭﻓﻲ ﺍﻟﺸﺎﺭﻉ‪ ..‬ﻓﻲ ﺍﻟﻌﻤﻞ ﻭﻣﻊ ﺍﻷﺻﺪﻗﺎﺀ‪ ..‬ﻭﻗﺖ ﺍﻟﺒﺴﻤﺔ ﻭﻭﻗﺖ ﺍﻟﺪﻣﻌﺔ‪ ،‬ﻛﺎﻥ ﺍﳌﺴﺮﺡ‬ ‫•‬
‫ﻣﻨﻘﺬﻱ ﻛﺎﻥ ﺍﳌﺴﺮﺡ ﺻﺪﻳﻘﻲ‪ ،‬ﺩﻟﻴﻠﻲ‪ ،‬ﻭﻣﺴﺘﺸﺎﺭﻱ‪ ،‬ﻓﻜﻞ ﻣﺎ ﻫﻮ ﻣﺴﺮﺡ ﺃﺗﻘﺒﻠﻪ ﺩﻭﻥ ﺣﺪﻭﺩ ﺃﻭ ﺷﺮﻭﻁ ‪ ..‬ﺍﻟﻔﺘﺮﺓ ﻛﺎﻧﺖ ﻃﻮﻳﻠﺔ‬
‫ﻧﻌﻢ ﻗﺒﻞ ﺃﻥ ﺃﺗﻠﻘﻰ ﺷﻴﺌﺎ ﻋﻠﻤﻴﺎ ﻻ ﻳﻌﺘﻤﺪ ﻋﻠﻰ ﺍﳌﻮﻫﺒﺔ ﻓﻲ ﺍﳌﺴﺮﺡ ﻓﻘﻂ‪ ،‬ﺍﻟﺘﻘﻴﺖ ”ﺑﻨﻌﻢ“‪ ،‬ﻓﻜﺎﻧﺖ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻲ ﺍﻟﻔﺮﺻﺔ‬
‫ﺍﻟﺘﻲ ﻻ ﺗﺄﺗﻲ ﻓﻲ ﺍﻟﻌﻤﺮ ﺇﻻ ﻣﺮﺓ ﻭﺍﺣﺪﺓ‪ ،‬ﻧﻌﻢ ﻛﺎﻧﺖ ﻓﺮﺻﺔ ”ﻣﺶ ﺯﻱ ﺃﻱ ﻓﺮﺻﺔ“‪” ،‬ﻧﻌﻢ“ ﺍﺣﺘﻞ ﺟﺰ ﹰﺀ ﻛﺒﻴﺮﺍ ﻣﻦ ﺣﻴﺎﺗﻲ‪ ..‬ﻓﻘﺪ‬
‫ﺍﺗﺨﺬﺕ ﻓﻲ ﻓﺘﺮﺓ ﺗﻮﺍﺟﺪﻱ ﻓﻲ ”ﻣﺴﺮﺡ ﻧﻌﻢ“ ﻣﺒﺪﺃ ”ﻗﻞ ﻧﻌﻢ ﺩﺍﺋﻤﺎ ﻭﻣﻬﻤﺎ ﻛﺎﻧﺖ ﺍﻟﻈﺮﻭﻑ ﺻﻌﺒﺔ“‪ ..‬ﻓﺤﲔ ﻛﻨﺖ ﺃﻋﻴﺶ ﲢﺖ‬
‫ﺿﻐﻂ ﺍﻣﺘﺤﺎﻧﺎﺗﻲ ﺍﳉﺎﻣﻌﻴﺔ ”ﺇﻟ ﹼﻠﻲ ﻣﺎ ﺑﺘﺨﻠﺺ“‪ ،‬ﺷﻲﺀ ﻭﺣﻴﺪ ﻛﺎﻥ ﻳﻬ ﱢﻮﻥ ﻋﻠﻲ‪” :‬ﺑﻜﺮﺍ ﻋﻨﺪﻙ ﺩﻭﺭﺓ ﻓﻲ ﻣﺴﺮﺡ ﻧﻌﻢ“‪ ..‬ﻛﺬﻟﻚ‬
‫ﻓﻲ ﻣﺸﺎﻛﻞ ﺣﻴﺎﺗﻲ ﺍﻟﻴﻮﻣﻴﺔ‪ ..‬ﺍﺻﺒﺮ ﻭﺃﻗﻮﻝ ”ﻣﻬﻮ ﻓﻲ ﻧﻌﻢ“ ﺍﳌﺸﻜﻠﺔ ﻛﺎﻧﺖ ﻓﻲ ﺍﻧﺘﻈﺎﺭﻱ ﺍﻟﻄﻮﻳﻞ ﻟﻠﻴﻮﻡ ﺍﻟﺬﻱ ﺳﺄﺫﻫﺐ ﻓﻴﻪ‬
‫”ﳌﺴﺮﺡ ﻧﻌﻢ“ ﻟﻜﻲ ﺃﻫﺮﺏ ﻣﻦ ”ﻣﻴﻤﻌﺔ“ ﺍﳊﻴﺎﺓ ﻭﻣﺸﺎﻛﻠﻬﺎ‪ ..‬ﺷﻜﺮﺍ ”ﻧﻌﻢ“‪.‬‬
‫ﻣﻌﺎﺫ ﻣﺮﻋﺐ‬
‫ﻣﺸﺎﺭﻙ ﻓﻲ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‬

‫ﻓﻲ ﺍﻟﺒﺪﺍﻳﺔ ﻟﻢ ﺃﺗﺸﺠﻊ ﻛﺜﻴﺮﺍ ﻟﻼﻧﻀﻤﺎﻡ ﻟﻠﺒﺮﻧﺎﻣﺞ ﺍﻟﺬﻱ ﻳﻨﻈﻤﻪ ”ﻣﺴﺮﺡ ﻧﻌﻢ“‪ ،‬ﻭﻟﻜﻦ ﺷﻴﺌﺎ ﻓﺸﻴﺌﺎ ﻭﺟﺪﺕ ﺃﻧﻪ ﻟﻴﺲ‬ ‫•‬
‫ﻣﺠﺮﺩ ﺑﺮﻧﺎﻣﺞ ﺗﺪﺭﻳﺒﻲ ﻓﻘﻂ‪ ..‬ﻟﻘﺪ ﻛﺎﻥ ﺃﻛﺜﺮ ﻣﻦ ﺫﻟﻚ ﺑﻜﺜﻴﺮ‪ ..‬ﻛﺎﻥ ﻣﻜﺎﻧﺎ ﺃﺟﺪ ﻓﻴﻪ ﺃﺷﺨﺎﺻﺎ ﻳﻨﺼﺤﻮﻧﻨﻲ ﻭﻳﺴﺎﻋﺪﻭﻧﻨﻲ‪..‬‬
‫ﻣﺎ ﺑﲔ ﻟﻌﺐ ﻭﺿﺤﻚ‪ ،‬ﺣﺰﻥ ﻭﺿﻐﻂ‪ ،‬ﺗﻌﺐ ﻭﺭﺍﺣﺔ‪ ،‬ﺗﺸﻮﻳﻖ ﻭﺇﺑﺪﺍﻉ‪ ..‬ﲡﻠﺖ ﻛﻠﻬﺎ ﻻﻛﺘﺸﻒ ﻓﻴﻤﺎ ﺑﻌﺪ ﺃﻧﻨﻲ ﻟﻢ ﺍﻧﻀﻢ ﻟﺒﺮﻧﺎﻣﺞ‬
‫ﺗﻘﻠﻴﺪﻱ ﺑﻞ ﺍﻧﻀﻤﻤﺖ ﳌﻜﺎﻥ ﺃﺻﺒﺢ ﻳﻌﻠﻤﻨﻲ ﺍﻟﻜﺜﻴﺮ ﻛﺤﺐ ﺍﳌﺴﺆﻭﻟﻴﺔ ﻭﺍﻟﺘﻮﺍﺿﻊ‪ ..‬ﻭﺍﻟﻌﻼﻗﺔ ﺍﻷﺧﻮﻳﺔ ﻣﻊ ﺍﳌﺸﺘﺮﻛﲔ ﻓﻴﻬﺎ‬
‫ﺩﻭﻥ ﺍﺳﺘﺜﻨﺎﺀ‪ ...‬ﺷﻜﺮﺍ ”ﻣﺴﺮﺡ ﻧﻌﻢ“ ‪...‬‬
‫ﺷﻮﻛﺖ ﺍﻟﻄﺮﺩﺓ‬
‫ﻣﺸﺎﺭﻙ ﻓﻲ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‬

‫ﻛﺎﻥ ﻟﻘﺎ ﹰﺀ ﺣﻤﻴﻤﺎ ﹰ ﺭﻏﻢ ﺃﻧﻬﻢ ﻻ ﻳﻌﺮﻓﻮﻥ ﺑﻌﻀﻬﻢ‪ ،‬ﺗﻌﺮﻓﻮﺍ ﻋﻠﻰ ﺑﻌﻀﻬﻢ ﺍﻟﺒﻌﺾ ﻭﻛ ﹼﻮﻧﻮﺍ ﻋﺎﺋﻠ ﹰﺔ ﻣﺘﻤﺎﺳﻜﺔ ﻣﺘﺮﺍﺑﻄﺔ‪،‬‬ ‫•‬
‫ﻳﺨﺎﻓﻮﻥ ﻋﻠﻰ ﺑﻌﻀﻬﻢ ﺍﻟﺒﻌﺾ ﻳﺤﺒﻮﻥ ﺑﻌﻀﻬﻢ ﺍﻟﺒﻌﺾ‪ ،‬ﻳﻌﺎﻣﻠﻮﻥ ﺑﻌﻀﻬﻢ ﺑﻜﻞ ﺍﺣﺘﺮﺍﻡ ﻭﺗﻘﺪﻳﺮ‪ ،‬ﺿﺤﻜﻮﺍ ﻟﻌﺒﻮﺍ ﻋﻤﻠﻮﺍ‬
‫ﺍﺣﺘﻔﻠﻮﺍ ﺃﺑﺪﻋﻮﺍ ﻣﺮﺣﻮﺍ ﺧﺎﻓﻮﺍ ﻓﺮﻏﻮﺍ‪ ،‬ﻭﻟﻜﻦ ﲤﺎﺳﻜﻬﻢ ﻭﺗﺮﺍﺑﻄﻬﻢ ﻭﺃﺧ ﹼﻮﺗﻬﻢ ﺃﺑﺖ ﺇﻻﹼ ﺃﻥ ﲤﺤﻮ ﺍﻟﻔﺮﺍﻕ ﻭﻗﺮﺭﻭﺍ ﺃﻥ ﻳﺠﺘﻤﻌﻮﺍ‬
‫ﻓﺎﻟﺘﺄﻡ ﺷﻤﻞ ﺍﻷﺳﺮﺓ ﻓﻲ ﺑﻴﺖ ﻭﺍﺣﺪ‪ ..‬ﺑﻴﺖ ”ﻣﺴﺮﺡ ﻧﻌﻢ“‪ ..‬ﺇﻧﻬﻢ ﻫﻢ‪ ..‬ﻣﺠﻤﻮﻋﺔ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‪ ،‬ﺭ ﹼﻭﺍ ﹲﺩ ﺭﻏﻢ ﻛﻞ ﺍﻟﺘﺤﺪﻳﺎﺕ‪،‬‬
‫ﺇﻧﻬﻢ ﻫﻢ ﺍﻟﻌﺎﺋﻠﺔ ﺇﻧﻬﻢ ﻫﻢ ﺍﻷﻗﻮﻳﺎﺀ ﺇﻧﻬﻢ ﻫﻢ ﺍﳌﺘﻄﻮﻋﻮﻥ‪ ،‬ﺇﺧﻮﺗﻲ ﺃﺧﻮﺍﺗﻲ ﺃﺑﻨﺎﺀ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“ ﺍﻟﻔﺮﺍﻕ ﺻﻌﺐ‬
‫ﻭﺍﻟﺘﻌﺒﻴﺮ ﺃﺻﻌﺐ‪ ،‬ﺍﻧﺘﻢ ﻣﻦ ﲢﺪﺩﻭﻥ ﻣﻮﻋﺪ ﺍﻟﻠﻘﺎﺀ ﻓﺎﻟﻠﻘﺎﺀ ﻭﺍﻟﺘﻮﺍﺻﻞ ﺑﺄﻳﺪﻳﻜﻢ‪ ...‬ﻟﻦ ﺃﻧﺴﺎﻛﻢ ‪...‬‬
‫ﺃﺧﺘﻜﻢ‪ ،‬ﺻﺪﻳﻘﺔ ﺍﻟﻔﻄﺎﻓﻄﺔ‬
‫ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‬

‫ﺑﺪﺃﺕ ﺍﻟﻘﺼﺔ ﻗﺒﻞ ﺣﻮﺍﻟﻲ ﺛﻼﺛﺔ ﺃﺷﻬﺮ‪ ،‬ﺃﺑﻄﺎﻝ ﻫﺬﻩ ﺍﻟﻘﺼﺔ ﺃﻧﺎﺱ ﺭﺍﺋﻌﲔ‪ ،‬ﻭﺃﻧﺎ ﺇﺣﺪﻯ ﺃﺑﻄﺎﻝ ﺍﻟﻘﺼﺔ‪ .‬ﻛﺎﻧﺖ ﺍﻟﺒﺪﺍﻳﺔ ﻣﻊ ﺇﻋﻼﻥ‬ ‫•‬
‫ﻗﺮﺃﺗﻪ ﻋﻦ ﺑﺮﻧﺎﻣﺞ ﺗﺪﺭﻳﺒﻲ ﻓﻲ ”ﻣﺴﺮﺡ ﻧﻌﻢ“‪ ..‬ﻻ ﺃﺧﻔﻴﻜﻢ ﻇﻨﻨﺖ ﻓﻲ ﺍﻟﺒﺪﺍﻳﺔ ﺃﻧﻬﺎ ﻣﺠﺮﺩ ﺩﻭﺭﺓ ﻋﺎﺩﻳﺔ ﻟﻜﻦ ﻋﻨﺪﻣﺎ ﻋﻠﻤﺖ‬
‫ﺃﻧﻬﺎ ﻟﻠﻤﻌﻠﻤﲔ ﻭﺍﳌﻮﻇﻔﲔ ﻭﺍﳋﺮﻳﺠﲔ ﺍﳉﺪﺩ ﺍﻟﺬﻳﻦ ﻳﺘﻌﺎﻣﻠﻮﻥ ﻣﻊ ﺍﻷﻃﻔﺎﻝ ﻗﺮﺭﺕ ﺍﻻﻧﻀﻤﺎﻡ ﺇﻟﻴﻬﺎ ﻷﻧﻨﻲ ﺃﺅﻣﻦ ﺑﺄﻥ ﺍﻟﻔﻜﺮﺓ‬
‫ﺃﻭ ﺍﳌﻌﻠﻮﻣﺔ ﺍﻟﺘﻲ ﺗﹸﺪ ﹼﺭﺱ ﻟﻠﻄﻼﺏ ﺑﺄﺳﻠﻮﺏ ﺍﻟﺪﺭﺍﻣﺎ ﺳﺘﺒﻘﻰ ﻓﻲ ﺫﺍﻛﺮﺗﻬﻢ ﻭﺳﻴﻮﻇﻔﻮﻧﻬﺎ ﻓﻲ ﺣﻴﺎﺗﻬﻢ ﺍﻟﻌﻠﻤﻴﺔ ﻭﺍﻟﻌﻤﻠﻴﺔ‪.‬‬
‫ﻓﺈﻋﻄﺎﺀ ﺩﺭﺱ ﻓﻲ ﻗﻮﺍﻋﺪ ﺍﻟﻠﻐﺔ ﺍﻟﻌﺮﺑﻴﺔ ﻣﺜﻼﹰ ﺑﺄﺳﻠﻮﺏ ﺍﻟﺪﺭﺍﻣﺎ ﺳﻴﺠﻌﻠﻪ ﻳﺮﺳﺦ ﻓﻲ ﺫﺍﻛﺮﺓ ﺍﻟﻄﻼﺏ ﺇﻟﻰ ﺍﻷﺑﺪ‪.‬‬
‫ﺑﺸﺮﻯ ﺍﻷﻃﺮﺵ‬
‫ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‬
‫ﺣﲔ ﺷﺎﻫﺪﺕ ”ﻓﻲ ﺍﳌﻜﺎﻥ“ ﻭﻋﺸﺖ ﻣﻌﻬﻢ ﺣﺎﻟﺔ ﺍﻻﻧﺘﻈﺎﺭ‪ ..‬ﳌﻠﻤﺖ ﻛﻞ ﺗﺨﻴﻼﺗﻲ ﻭﺍﻧﻄﺒﺎﻋﺎﺗﻲ ﻭﻏﻠﻔﺘﻬﺎ ﺑﻜﻠﻤﺎﺕ ﺃﺷﺎﺭﻛﻬﻢ‬ ‫•‬
‫ﺗﻠﻘﺎﺋﻲ ﻣﺪﺭﻭﺱ‪ ..‬ﻟﻬﺬﺍ ﻟﻢ ﺃﺗﺮﺩﺩ ﻓﻲ ﺍﻟﺴﻌﻲ ﻟﻠﺤﺼﻮﻝ ﻋﻠﻰ ﺷﻲﺀ ﺟﺪﻳﺪ ﻭﻣﺨﺘﻠﻒ ﻣﻦ‬‫ﹲ‬ ‫ﻓﻴﻬﺎ ﻷﻗﻮﻝ ﻟﻬﻢ‪ :‬ﻟﺪﻳﻜﻢ ﺇﺑﺪﺍﻉ‪ ..‬ﺇﺑﺪﺍﻉ‬
‫ﺧﻼﻝ ﺩﻭﺭﺓ ﺗﺪﺭﻳﺒﻴﺔ ﻋﻨﻮﺍﻧﻬﺎ ﺍﻟﻄﻔﻞ ﻭﺍﺳﻤﻬﺎ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‪ ..‬ﻭﻛﻴﻒ ﻟﻬﺬﻩ ﺍﳋﺸﺒﺔ ﺩﻭﺭ ﻓﻲ ﺗﻬﺬﻳﺐ ﺃﻓﻜﺎﺭﻧﺎ ﺍﻟﺘﻲ ﺳﺘﻌﻜﺲ‬
‫ﺳﻠﻮﻛﻨﺎ ﻣﻊ ﺍﻹﻧﺴﺎﻥ ﲟﺮﺍﺣﻠﻪ ﻭﻋﻠﻰ ﻭﺟﻪ ﺍﳋﺼﻮﺹ ﺍﻟﻄﻔﻞ‪ ..‬ﻫﻨﺎﻙ ﺣﺮﻛﺔ ﻭﺻﻮﺕ ﻭﺩﺭﺍﻣﺎ ﻭﻛﻼﻡ ﻭﺻﻤﺖ ﻋﺒﺮ ﺛﻼﺛﺔ ﻳﻜﺘﺒﻮﻥ‬
‫ﺭﺳﺎﻟﺔ ﻋﻠﻰ ﻃﺮﻳﻘﺘﻬﻢ ﺍﳋﺎﺻﺔ‪ ،‬ﻫﻢ ﺇﻳﻬﺎﺏ ﻭﻣﺤﻤﺪ ﻭﺭﺍﺋﺪ ﻣﻦ ﻣﻜﺎﻥ ﻳﺴﻤﻰ ”ﻣﺴﺮﺡ ﻧﻌﻢ“‪ ،‬ﻣﻦ ﻋﻠﻰ ﺧﺸﺒﺔ ﺍﳊﺐ ﻭﺍﻷﻣﻞ‪..‬‬
‫ﺷﻜﺮﺍ ﻟﻜﻞ ﳊﻈﺔ ﻋﻠﻤﺘﻤﻮﻧﻲ ﻓﻴﻬﺎ ﻣﺎ ﺃﺣﺐ‪.‬‬
‫ﺩﻋﺎﺀ ﻋﻨﺎﺗﻲ‬
‫ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‬

‫ﺇﻧﻪ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﻳﺤﺘﻀﻦ ﺃﻓﻜﺎﺭﻧﺎ ﻭﺃﺣﺎﺳﻴﺴﻨﺎ ﻋﻨﺪ ﻭﺻﻮﻟﻨﺎ ﺇﻟﻴﻪ‪ ،‬ﻧﻨﺪﻣﺞ ﺟﺴﺪﺍ ﹰ ﻭﺭﻭﺣﺎﹰ‪ ،‬ﻧﺼﺒﺢ ﺃﺷﺨﺎﺻﺎ ﺁﺧﺮﻳﻦ‪ ،‬ﻭﻧﻌﻴﺶ ﺃﻭﻗﺎﺗﺎ ﹰ‬ ‫•‬
‫ﻧﺘﻌﻠﻢ ﻓﻴﻬﺎ ﺃﺳﺎﻟﻴﺐ ﻭﻓﻦ ﺍﻟﺘﻌﺎﻣﻞ ﻣﻊ ﺍﻷﻃﻔﺎﻝ ﻣﻦ ﺧﻼﻝ ﺍﻟﺪﺭﺍﺳﺔ ﻭﻧﺮﺗﻘﻲ ﺑﺄﻓﻜﺎﺭﻧﺎ ﻭﺃﺣﺎﺳﻴﺴﻨﺎ ﻭﺃﺳﺎﻟﻴﺐ ﺗﻌﺎﻣﻠﻨﺎ‪...‬‬
‫ﻧﻮﺭ ﺍﺳﻌﻴﻔﺎﻥ‬
‫ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‬

‫ﺃﺗﻴﺖ ”ﳌﺴﺮﺡ ﻧﻌﻢ“ ﻷﻏﻴﺮ ﻣﻦ ﺭﻭﺗﲔ ﺣﻴﺎﺗﻲ‪ ،‬ﻟﻢ ﻳﺨﻄﺮ ﺑﺒﺎﻟﻲ ﺃﻥ ﻳﺤﺼﻞ ﺃﻱ ﺗﻐﻴﻴﺮ ﺣﻘﻴﻘﻲ ﻓﻲ ﺷﺨﺼﻴﺘﻲ‪ ..‬ﻣﻨﺬ ﺃﻭﻝ ﻳﻮﻡ‬ ‫•‬
‫ﺩﺧﻠﺖ ﻓﻴﻪ ﻣﺴﺮﺡ ﻧﻌﻢ ﻭﺍﻟﺘﺤﻘﺖ ﺑﺎﻟﺒﺮﻧﺎﻣﺞ ﺍﻟﺘﺪﺭﻳﺒﻲ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‪ ،‬ﺑﺪﺃ ﺍﻟﺘﻐ ﹼﻴﺮ ﻓﻲ ﺣﻴﺎﺗﻲ ﻭﺷﺨﺼﻴﺘﻲ‪ ،‬ﺗﻐ ﹼﻴﺮ ﺣﻘﻴﻘﻲ‪،‬‬
‫ﺃﺻﺒﺤﺖ ﺃﻧﺘﻈﺮ ﺃﻳﺎﻡ ﺍﻟﻮﺭﺷﺔ ﺑﻔﺎﺭﻍ ﺍﻟﺼﺒﺮ‪ ،‬ﻟﻴﺲ ﻷﻧﻪ ﻻ ﻳﻮﺟﺪ ﻟﺪﻱ ﻣﺎ ﺃﻓﻌﻠﻪ‪ ،‬ﻋﻠﻰ ﺍﻟﻌﻜﺲ‪ ،‬ﻭﻗﺘﻲ ﻣﻠﻲﺀ ﺑﺎﳌﺸﺎﻏﻞ‪ ،‬ﻓﺄﻧﺎ‬

‫‪13‬‬
 ‫أﻧﺎ وﻣﺴﺮح ﻧﻌﻢ‬
‫ﺃﺩﺭﺱ ﻭﺃﻋﻤﻞ ﻓﻲ ﻧﻔﺲ ﺍﻟﻮﻗﺖ‪ ،‬ﻭﻟﻜﻦ ﻓﻲ ”ﻣﺴﺮﺡ ﻧﻌﻢ“ ﻭﺟﺪﺕ ﻧﻔﺴﻲ ﻭﻭﺟﺪﺕ ﻣﺎ ﺃﺑﺤﺚ ﻋﻨﻪ ﺑﻌﻴﺪﺍ ﻋﻦ ﻋﻤﻠﻲ ﻭﺑﻌﻴﺪﺍ ﻋﻦ‬
‫ﻭﺟﺪﺕ ﻣﻜﺎﻧﺎ ﹰ ﺃﺭﺗﺎﺡ ﻓﻴﻪ ﻧﻔﺴﻴﺎﹰ‪ ،‬ﺃﻋﺒﺮ ﻓﻴﻪ ﻋﻤﺎ ﻳﺠﻮﻝ ﺑﺨﺎﻃﺮﻱ ﻭﺃﻗﻮﻡ ﻓﻴﻪ ﲟﺎ ﺃﺣﺐ ﺍﻟﻘﻴﺎﻡ ﺑﻪ ﲟﺴﺎﻋﺪﺓ ﻃﺎﻗﻢ ﳑ ﹼﻴﺰ‬
‫ﹸ‬ ‫ﺩﺭﺍﺳﺘﻲ‪..‬‬
‫ﻣﻦ ﺍﳌﺪﺭﺑﲔ‪.‬‬
‫ﺩﻳﺎﻧﺎ ﺍﻟﺴﻮﻳﻄﻲ‬
‫ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‬
‫ﻣﻜﺎ ﹸﻥ ﺍﺳﺘﻐﺮﺑﺖ ﻭﺟﻮﺩﻱ ﻓﻴﻪ ﻓﻲ ﺍﻟﻠﺤﻈﺎﺕ ﺍﻷﻭﻟﻰ‪ ،‬ﻟﻜﻨﻨﻲ ﺗﻜﻴﻔﺖ ﻣﻌﻪ‪ ،‬ﺍﻧﺪﻣﺠﺖ ﻓﻴﻪ‪ ،‬ﺃﺣﺒﺒﺖ ﻭﺟﻮﺩﻱ ﺑﲔ ﺭﻭﺍﺩﻩ ﻭﺍﻟﻘﺎﺋﻤﲔ‬ ‫•‬
‫ﻋﻠﻴﻪ‪ ..‬ﺃﺣﺘﺮﻣﻪ‪ ،‬ﺃﺣﺘﺮﻡ ﻧﻔﺴﻲ ﻷﻧﻨﻲ ﻫﻨﺎﻙ‪ .‬ﻫﻲ ﲡﺮﺑﺔ ﻟﻴﺴﺖ ﺑﺎﳉﺪﻳﺪﺓ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻲ‪ ،‬ﻟﻜﻨﻬﺎ ﲡﺮﺑﺔ ﺭﺍﺋﻌﺔ ﺗﺪﻓﻌﻨﻲ ﻹﻛﻤﺎﻝ‬
‫ﻣﺎ ﺑﺪﺃﺕ‪ ..‬ﻓﺄﻧﺎ ﺃﺣﺐ ﻋﻤﻠﻲ ﻣﻊ ﺍﻷﻃﻔﺎﻝ‪ ،‬ﻭﺃﺣﺘﺎﺝ ﻟﻠﺨﺒﺮﺓ ﻭﺍﻟﻮﺳﺎﺋﻞ ﺍﻷﻓﻀﻞ ﻟﻠﺘﻌﺎﻣﻞ ﺍﻟﻨﻤﻮﺫﺟﻲ ﻣﻌﻬﻢ‪ ،‬ﻭﺍﻟﺪﺭﺍﻣﺎ ﻭﺍﻷﻟﻌﺎﺏ‬
‫ﺃﻛﺘﺴ ﹸﺒﻬﺎ ﻣﻦ‬
‫ﹺ‬ ‫ﺍﻟﺘﺮﺑﻮﻳﺔ ﻭﺍﻟﺴﺮﺩ ﺍﻟﻘﺼﺼﻲ ﻭﺍﻟﺘﻤﺜﻴﻞ ﺃﺿﺎﻓﺖ ﻛﻠﻬﺎ ﻟﻲ ﺍﻟﻜﺜﻴﺮ ﻓﻲ ﻫﺬﺍ ﺍ‪‬ﺎﻝ‪ ..‬ﺃﺩﻭﺍﺕ ﺟﺪﻳﺪﺓ‪ ،‬ﺃﺳﺎﻟﻴﺐ ﺟﻤﻴﻠﺔ‪،‬‬
‫ﻣﻨﻔﺬﻱ ﺍﳌﺸﺮﻭﻉ‪ ،‬ﻓﺮﻳﻖ ”ﻣﺴﺮﺡ ﻧﻌﻢ“‪ .‬ﺍﻟﺸﻜﺮ ﺍﳉﺰﻳﻞ ﻟﻬﻢ ﻭﻟﻜﻞ ﻣﻦ ﻳﺴﺎﻫﻢ ﻓﻲ ﺇﻋﻼﺀ ﺷﺄﻥ ﻫﺬﺍ ﺍﳌﺴﺮﺡ ﻭﺗﻄﻮﻳﺮﻩ ﻭﺗﻨﻤﻴﺘﻪ‬
‫‪...‬‬
‫ﺑﺸﺮﻯ ﺃﺑﻮ ﺻﺎﳝﺔ‬
‫ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‬

‫‪14‬‬
 ‫ﺣﻴـــــﺎة ‪...‬‬ ‫أﻳﻬﺎ اﻷﺳﻮد‬
‫ﺧﺎﻃﺮﺓ ﺑﻘﻠﻢ ﻧﻮﺭﻩ ﺻﻼﺡ – ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﻣﻬﺮﺟﺎﻥ ﺍﳌﺴﺮﺡ ﺍﳌﺪﺭﺳﻲ ‪2008‬‬ ‫ﺧﺎﻃﺮﺓ ﺑﻘﻠﻢ ﻣﺤﻤﺪ ﺍﻟﻄﻴﻄﻲ‪ ،‬ﻋﻀﻮ ﺍﻟﻄﺎﻗﻢ ﺍﻟﻔﻨﻲ ﲟﺴﺮﺡ ﻧﻌﻢ‬
‫ﺗﻠﻘﻴﺖ ﺍﳊﻴﺎﺓ ﺑﻜﻒ ﻃﻔﻠﺔ ﺻﻐﻴﺮﺓ‪ ،‬ﺗﺪﺛﺮﺕ ﺑﺴﻤﺎﺋﻬﺎ‪ ،‬ﻭﺍﻓﺘﺮﺷﺖ ﺃﺭﺿﻬﺎ‪،‬‬ ‫ﹸ‬ ‫ﻟﻢ ﺃﻛﻦ ﺃﺗﺨﻴﻞ ﻳﻮﻣﺎ ﹰ ﻣﺎ ﺑﺄﻥ ﻫﻨﺎﻙ ﻗﺪﺭﺍ ﹰ ﻣﺎ ﺳ ﹸﻴﺨﺮﺟﻨﻲ ﻣﻦ ﻗﻠﻘﻲ‪ ،‬ﺻﻤﺘﻲ‪،‬‬
‫ﺃﺿﺄﺕ ﻟﻴﻠﻲ ﺑﻨﺠﻮﻡ ﺍﻟﺴﻤﺎﺀ ﺍﻟﺴﺎﻫﺮﺍﺕ‪ ،‬ﻣﺸﻴﺖ ﻓﻲ ﻧﻬﺎﺭﻫﺎ ﺍﳌﺘﻘﻠﺐ‬ ‫ﹸ‬ ‫ﻋﺰﻟﺘﻲ‪ ،‬ﺣﺮﻣﺎﻧﻲ‪ ..‬ﻃﻔﻮﻟﺘﻲ ﺍﻟﻴﺎﺋﺴﺔ‪ ..‬ﺃﺣﻼﻣﻲ ﺍﻟﺘﻲ ﻟﻢ ﺗﻜﻦ‪ ..‬ﻭﻓﻘﺪﺍﻧﻲ‬
‫ﺑﺎﻟﺒﺮﻭﺩﺓ ﻭﺍﻟﺴﺨﻮﻧﺔ‪ ،‬ﺷﺮﺑﺖ ﺍﳌﺎﺀ ﻭﺍﻟﺪﻣﻮﻉ ﻭﺍﻟﻌﺮﻕ‪ ،‬ﺍﺭﺗﻮﻳﺖ ﻣﻨﻬﻢ‪ ،‬ﻓﺰﺩﺕ‬ ‫ﹶ‬
‫ﺳﻮﺍﻙ ﺃﻳﻬﺎ ﺍﻷﺳﻮﺩ‪.‬‬ ‫ﻷﻣﻲ ﻭﻟﻨﻔﺴﻲ‪..‬‬
‫ﺩﻑﺀ ﻣﺨﺒﺄ ﺑﲔ ﺍﻟﺼﺨﻮﺭ‪ ،‬ﺃﻭ‬ ‫ﻋﻄﺸﺎ ﻟﻠﺮﺍﺣﺔ ﻭﺍﻷﻣﺎﻥ‪ .‬ﺃﺳﻴﺮ ﺑﺎﺣﺜﺔ ﻋﻦ‬ ‫ﹸ‬
‫ﻟﻢ ﺃﻛﻦ ﺃﺗﺨﻴﻞ ﺑﺄﻧﻲ ﺳﺄﺳﺘﻔﺰﱠ ﻣﻨﻚ‪ ،‬ﻷﻧﹼﻨﻲ ﻛﻨﺖ ﺃﺗﺼﻮﺭ ﺃ ﱠﻥ ﻣﺎ ﺑﺪﺍﺧﻠﻲ‬
‫ﹴ‬
‫ﺃﺭﺽ ﺧﺼﺒﺔ ﺗﺮﻭﻳﻬﺎ‬ ‫ﻧﺒﺖ ﻓﻲ ﹴ‬‫ﻣﻨﻘﻮﺵ ﻋﻠﻰ ﺟﺬﻉ ﺷﺠﺮﺓ ﻣﻨﺴﻴﺔ ﻣﻦ ﺳﻨﲔ‪ ،‬ﱡ‬ ‫ﺃﻗﻮﻯ ﻣﻦ ﺃﻥ ﻳﺴﺘﻔﺰﻩ ﺍﺣﺪ‪ ،‬ﻓﻜﻴﻒ ﻓﻌﻠﺖ؟‪ ...‬ﺟﺬﺑﻨﻲ ﺇﻟﻴﻚ ﺟﻨﻮﻧﻚ‪ ،‬ﺳﻮﺍﺩ‬
‫ﺟﺪﺍﻭﻝ ﻭﻳﻨﺎﺑﻴﻊ ﻣﺘﺪﻓﻘﺔ ﻣﻦ ﻣﺎﺀ ﺭﻗﺮﺍﻕ ﻋﺬﺏ ﻛﻘﺒﻞ ﺍﻟﻌﺸﺎﻕ ﺍﻟﻌﺬﺭﻳﺔ‪.‬‬ ‫ﻠﻘﺖ‪ ..‬ﻟﻢ ﻳﻔﺎﺭﻗﻨﻲ ﺫﺍﻙ‬‫ﻟﻴﻠﻚ ﺍﻟﺴﺮﻣﺪﻱ‪ ،‬ﻫﺬﺍ ﺍﻟﻠﻴﻞ ﺍﻟﺬﻱ ﺗﺮﺗﺪﻳﻪ ﻣﻨﺬ ﺧﹸ ﹶ‬
‫ﺃﺣﺎﻭﻝ ﺍﻟﺒﺤﺚ ﻋﻦ ﻳﺪ ﺗﻼﻣﺲ ﻳﺪﻱ‪ ،‬ﺗﺘﻔﻬﻢ ﺍﺣﺘﻴﺎﺟﻬﺎ ﻣﻦ ﻭﻗﺖ ﻷﺧﺮ‪ ،‬ﻓﻤﻨﺬ‬ ‫ﺍﻟﺴﻮﺍﺩ‪ ،‬ﻻﺯﻣﻨﻲ ﻟﺴﻨﻮﺍﺕ ﻃﻮﻳﻠﺔ‪ ..‬ﺍﺭﺗﺪﻳﺘﻪ ﻣﺜﻠﻚ‪ ..‬ﺃﺣﺎﻃﻨﻲ ﻛﻤﺎ ﺃﺣﺎﻃﻚ‪..‬‬
‫ﺧﻄﻮﺍﺗﻲ ﺍﻷﻭﻟﻰ ﻟﻢ ﺃﺟﺪ ﻣﺎ ﻳﺠﺪﺩ ﺍﳊﻴﺎﺓ ﻟﺪﻱ‪ ،‬ﻓﻨﻬﺎﺭﻫﺎ ﻭﻟﻴﻠﻬﺎ‪ ،‬ﺻﻴﻔﻬﺎ‬ ‫ﻻﺯﻣﻨﻲ ﻛﻤﺎ ﻻﺯﻣﻚ‪ ..‬ﻏﺮﺍﺑﺔ ﺫﻟﻚ ﺍﻧﻚ ﻣﻐﺮﻡ ﺑﻬﺬﺍ ﺍﻟﺴﻮﺍﺩ‪ ..‬ﺑﻠﻮﻧﻪ‪ ..‬ﺑﺼﻤﺘﻪ‪..‬‬
‫ﺑﺈﻳﻘﺎﻉ ﻭﺍﺣﺪ‪ ،‬ﻻ ﺷﻲﺀ ﻳﺤﺪ ﺭﻭﺗﻴﻨﻬﻢ ﺍﳌﻌﻬﻮﺩ‪ .‬ﺃﻭ ﻳﻐﻴﺮ‬ ‫ﹴ‬ ‫ﻭﺧﺮﻳﻔﻬﺎ‪ ،‬ﻳﺴﻴﺮﻭﻥ‬ ‫ﺑﺴﺮﻣﺪﻳﺘﻪ‪ ،‬ﺃﻣﺎ ﺃﻧﺎ ﻓﻜﺎﻥ ﻟﻲ ﻣﺎ ﻛﺎﻥ ﻟﻲ‪ ،‬ﻛﺎﻥ ﻟﻲ ﺷﻴﺌﺎ ﺃﺧﺮ ﻣﺨﺘﻠﻔﺎ ﻷﻧﻚ‬
‫ﻣﺴﻴﺮﻫﻢ ﺍﳌﺸﻬﻮﺩ‪ .‬ﺣﺘﻰ ﺃﺻﺒﺤﺖ ﺍﳊﻴﺎﺓ ﻋﻨﺪﻱ ﺃﻏﻨﻴﺔ ﻣﻨﺴﻴﺔ‪ ،‬ﻣﻠﺖ ﻣﻦ‬ ‫ﻋﻠﻤﺘﻨﻲ ﻛﻴﻒ ﺃﺣﺐ ﺳﻮﺍﺩﻱ‪ ،‬ﺃﺣﺒﺒﺘﻪ ﻷﻧﻚ ﲢﺒﻪ‪ ..‬ﻟﻴﺲ ﻷﻧﻲ ﺃﺟﺎﻣﻠﻚ ﺃﻳﻬﺎ‬
‫ﻛﺜﺮﺓ ﺗﺮﺩﺍﺩﻫﺎ ﺍﻷﺟﻴﺎﻝ‪ .‬ﻭﻋﻠﻰ ﻫﺎﻣﺶ ﻣﺴﻴﺮﻫﺎ‪ ،‬ﺑﻘﺎﻳﺎ ﻣﻦ ﺫﻛﺮﻳﺎﺕ‪ ،‬ﻭﺃﻟﻢ‪،‬‬ ‫ﻛﻨﺖ‬
‫ﹶ‬ ‫ﺍﳉﻤﻴﻞ‪ ،‬ﻭﻟﻜﻦ ﻷﻧﻪ ﻳﻠﻴﻖ ﺑﻚ‪ ،‬ﺃﻣﺎ ﺃﻧﺎ ﻓﺎﳒﺬﺑﺖ ﺇﻟﻴﻚ ﺑﺮﻭﺣﻲ‪ ..‬ﻫﻜﺬﺍ‬
‫ﻭﺭﻣﻞ ﻣﺘﻨﺎﺛﺮ‪ ،‬ﺣﻤﻠﺘﻪ ﺭﻳﺢ ﻣﻦ ﺷﻮﺍﻃﺊ ﺑﻌﻴﺪﺓ‪ ،‬ﺃﺻﺒﺤﺖ ﺃﺭﺿﻬﺎ ﺍﳋﺼﺒﺔ‬ ‫ﻭﺳﺘﺒﻘﻰ ‪...‬‬
‫ﺻﺤﺮﺍﺀ ﺟﺎﻓﺔ‪ ،‬ﻧﺒﺘﺖ ﻋﻠﻰ ﺃﺭﺿﻬﺎ ﺃﺷﻮﺍﻙ ﻏﺪﺭ‪ ،‬ﻭﺍﻧﺪﺳﺖ ﺑﲔ ﺣﺠﺎﺭﺗﻬﺎ‬
‫ﺍﻟﺴﻢ ﻭﺍﳊﺴﺪ‪ ،‬ﺃﻳﻨﻌﺖ ﺍﻷﺷﻮﺍﻙ ﻭﺗﺮﻋﺮﻋﺖ‪ ،‬ﲢﺖ ﻇﻞ ﺍﻷﺳﻰ‬ ‫ﹼ‬ ‫ﺍﳌﻠﻮﻧﺔ ﺃﻓﺎﻋﻲ‬
‫ﻭﺍﳊﺮﻣﺎﻥ‪ .‬ﺃﻗ ﹼﻠﺐ ﻭﺟﻬﻲ ﳝﻨﺔ ﻭﻳﺴﺮﺓ‪ ،‬ﺃﺑﺤﺚ ﻋﻨﻪ ﻓﻲ ﺍﳌﺮﺍﻳﺎ‪ ،‬ﺑﻌﺪﻣﺎ ﺗﻠﻮﻥ‬
‫ﻭﺷﻜﻠﺘﻪ ﺗﻐﻴﺮﺍﺕ ﺍﻟﺰﻣﻦ‪ ،‬ﻓﻘﺪ ﺃﺧﺬﺕ ﺍﳊﻴﺎﺓ ﻋﻨﻲ ﻗﺮﺍﺭ ﺍﻟﺘﺨﻠﻲ ﻋﻦ ﺍﻟﺒﺮﺍﺀﺓ‪،‬‬
‫ﻓﺤﻮﻟﺘﻨﻲ ‪ -‬ﻟﺼﺒ ﹼﻴﺔ ‪ ،-‬ﻭﻣﺴﺤﺖ ﻣﻼﻣﺢ ﺟﺴﺪﻱ ﺍﻟﻄﻔﻮﻟﻴﺔ‪ ،‬ﻭﺣﻮﻟﺘﻨﻲ‬
‫ﺃﺻﺒﺤﺖ ﺍﻣﺮﺃﺓ؟‬
‫ﹸ‬ ‫ﺑﹸﻌﺮﻑ ﺍﻟﻌﺎﺩﺓ‪ ،‬ﺇﻟﻰ ‪ -‬ﺍﻣﺮﺃﺓ ‪ ... -‬ﻣﺘﻰ ﻛﻨﺖ ﻃﻔﻠﺔ؟ ﻭﳌﺎﺫﺍ‬
‫ﺧﻄﺎﻥ ﻳﺨﺘﻠﻄﺎﻥ ﻓﻲ ﺟﻤﺠﻤﺘﻲ‪ ،‬ﺃﺣﺎﻭﻝ ﺃﻥ ﺍﻓﺼﻞ ﺫﺍﻛﺮﺗﻲ ﻷﺑﺤﺚ ﻋﻦ ﺫﺍﺗﻲ‬ ‫ﹼ‬
‫ﺃﻳﻬﻤﺎ ﻛﻨﺖ ‪ -‬ﺃﻧﺎ‪ -‬ﺍﻟﻄﻔﻠﺔ ﺃﻡ ﺍﳌﺮﺃﺓ؟‬
‫ﻟﻢ ﺃﺧﺘﺮ ﺍﺳﻤﻲ؟ ﺷﻜﻠﻲ ﺃﻭ ﺟﻨﺴﻲ؟ ﺃﻭ ﻛﻴﻒ ﻛﺎﻥ ﻳﺠﺐ ﺃﻥ ﺃﺟﻠﺲ ﻓﻲ‬
‫ﺭﺣﻢ ﺃﻣﻲ؟ ﻣﺒﺮﻣﺠ ﹰﺔ ﻣﻨﺬ ﻛﻨﺖ ﻓﻴﻪ‪- ،‬ﺃﻧﺜﻰ ‪ !! -‬ﺃﻋﻠﻢ‪ ،‬ﻻ ﺗﺒﺪﺫﻝ ﺍﻟﻄﺒﻴﻌﺔ‬
‫ﺟﻠﺪﻫﺎ‪ ،‬ﻭﻛﻴﻨﻮﻧﺔ ﺍﳊﻴﺎﺓ ﻻ ﻳﺪ ﻟﻨﺎ ﻓﻴﻬﺎ‪ ،‬ﻣﺤﺪﺩﺓ ﺑﺮﺳﻢ ﺇﻟﻬﻲ ﻻ ﻳﺘﻐﻴﺮ ﻭﻻ‬
‫ﻳﻨﺘﻬﻲ ﺑﺎﻟﺘﻘﺎﺩﻡ‪ ،‬ﻟﻢ ﺃﺻﻞ ﺣﺪ ﺍﳉﻨﻮﻥ‪ ،‬ﺃﻭ ﺍﻟﻠﺤﻮﺩ‪ ،‬ﻟﻜﻨﻲ ‪ -‬ﺇﻧﺴﺎﻥ‪ -‬ﻳﺴﺄﻡ‪،‬‬
‫ﻳﺘﺄﻟﻢ‪ ،‬ﻭﻳﺤﺘﺞ؛ ﺣﺘﻰ ﻳﺸﻌﺮ ﺑﺎﻟﺘﻐﻴﺮ ﺃﻭ ﻳﺴﻤﻊ ﺻﻮﺗﻪ ﻓﻲ ﺿﻮﺿﺎﺀ ﺍﻟﺮﺍﺣﻠﲔ‬
‫ﻭﺍﳌﻘﻴﻤﲔ ﻓﻲ ﻫﺬﻩ ﺍﳊﻴﺎﺓ‪.‬‬
‫ﻗﺎﻝ‪» :‬ﻋﻠﻰ ﻫﺬﻩ ﺍﻷﺭﺽ ﻣﺎ ﻳﺴﺘﺤﻖ ﺍﳊﻴﺎﺓ«‪ ..‬ﻧﺒﺎﺗﺎﺕ ﻭﻋﺸﺐ ﺃﺧﻀﺮ‪ ،‬ﺳﻤﺎﺀ‬
‫ﺯﺭﻗﺎﺀ‪ ،‬ﻭ«ﻛﻮﻥ« ﻓﺴﻴﺢ‪ ،‬ﻳﻨﺒﻄﺢ‪ ،‬ﻳﺘﺪﺣﺮﺝ ﺃﻣﺎﻡ ﻋﻴﻨﻲ‪ ،‬ﻳﻐﺎﺯﻝ ﺍﳌﺎﺀ ﻭﺍﻟﻬﻮﺍﺀ‬
‫ﻭﺍﻟﺸﻤﺲ ﻭﺍﻟﻘﻤﺮ‪ ،‬ﻭﺑﻜﻞ ﻟﻴﻠﺔ ﻟﻪ ﻋﺸﻴﻘﺔ ﻳﻨﺎﺟﻴﻬﺎ‪ ،‬ﻳﺴﺒﺢ ﻣﻌﻬﺎ ﻓﻲ‬
‫ﺑﺤﺎﺭ ﻣﻦ ﺍﻟﺜﻠﺞ ﻭﺍﳌﺎﺀ ﻭﺍﻟﻨﺎﺭ‪ ،‬ﻭﻳﻄﺮﺏ ﻋﻠﻰ ﺯﻏﺮﻭﺩﺓ ﺍﻷﺣﺮﺍﺭ‪ ،‬ﻳﺸﻢ ﻧﺴﻴﻢ‬
‫ﺍﳌﺎﺿﻲ‪ ،‬ﻭﻳﺮﺣﻞ ﻟﻠﻤﺴﺘﻘﺒﻞ‪ ،‬ﻣﺨﻠﻔﺎ ﻭﺭﺍﺀﻩ ﺍﳌﺂﺳﻲ‪ ،‬ﻭﺫﻛﺮﻳﺎﺕ ﺗﺄﻛﻞ ﺻﺎﺣﺒﻬﺎ‬
‫ﻧﺪﻣﺎ ﹰ ﻭﺃﺭﻗﺎ ﹰ‪.‬‬
‫ﻣﺎﺀ‪ ،‬ﺯﻫﺮ ﻭﻭﺭﺩ ﻭﻓﻞ‬
‫ﻗﺎﻝ‪«:‬ﻋﻠﻰ ﻫﺬﻩ ﺍﻷﺭﺽ ﻣﺎ ﻳﺴﺘﺤﻖ ﺍﳊﻴﺎﺓ«‪ ..‬ﻳﻨﺎﺑﻴﻊ ﹴ‬
‫ﻭﺭﻳﺤﺎﻥ ﻭﻋﻨﺒﺮ‪ ،‬ﺷﺘﺎﺀ ﻳﻘ ﹼﺮﺏ ﺍﻷﺣﺒﺎﺏ‪ ،‬ﻭﺭﺑﻴﻊ ﻳﺰﻫﺮ ﺑﺬﻭﺭ ﺍﶈﺒﺔ ﺑﺪﺍﺧﻠﻬﻢ‪،‬‬
‫ﻭﺻﻴﻒ ﻳﺸﻌﻞ ﻓﻴﻬﻢ ﻣﺤﺒﺔ ﺍﻟﻠﻘﺎﺀ ﻭﲡﺪﺩﻩ‪ ،‬ﻭﻳﺒﻘﻰ ﺧﺮﻳﻒ ﺍﻟﻌﻤﺮ ﻳﺴﻘﻂ‬
‫ﻓﻴﻪ ﻛﻞ ﻣﺎ ﺣﻤﻠﻮﻩ ﻣﻦ ﺁﻣﺎﻝ ﻭﻣﺸﺎﻋﺮ‪ ،‬ﻟﻴﻔﻄﻨﻮﺍ ﻟﻌﻤﺮ ﻣﺮ ﺩﻭﻥ ﺃﻥ ﻳﺤﺘﻔﻈﻮﺍ‬
‫ﻷﺧﺮﻩ ﺑﺰﻫﺮﺓ ﻳﺎﻧﻌﺔ‪ ،‬ﺃﻭ ﺣﻠﻢ ﻟﻢ ﺗﻜﺪﺭﻩ ﻣﺸﺎﻛﻞ ﺍﻟﺪﻧﻴﺎ ﻭﻫﻤﻮﻣﻬﺎ‪ ،‬ﻳﻠﺘﻘﻮﻥ‬
‫ﻛﺎﻷﻏﺮﺍﺏ ﲢﺖ ﻣﻈﻠﺔ ﺍﻟﺸﺤﻮﺏ ﻭﺍﻷﻟﻢ‪.‬‬
‫ﻗﺎﻝ‪«:‬ﻋﻠﻰ ﻫﺬﻩ ﺍﻷﺭﺽ ﻣﺎ ﻳﺴﺘﺤﻖ ﺍﳊﻴﺎﺓ«‪ ..‬ﻋﻠﻰ ﻫﺬﻩ ﺍﻷﺭﺽ ﺍﻟﺴﻼﻡ‪،‬‬
‫ﻓﻴﻬﺎ ﻣﻦ ﺻﻨﻮﻑ ﺍﻹﳝﺎﻥ ﺃﺷﻜﺎﻝ ﻭﺃﻟﻮﺍﻥ‪ ،‬ﻭﻣﻦ ﺍﳌﺸﺎﻋﺮ ﻣﺎ ﻟﻢ ﻳﺴﺘﻄﻊ ﺃﻥ‬
‫ﻳﺼﻔﻪ ﻓﻨﺎﻥ‪ ،‬ﺗﺨﺘﻠﻂ ﻭﺗﺘﻤﺎﺯﺝ ﺑﻨﺴﻖ ﻣﺤﻴﺮ‪ ،‬ﺩﺍﺧﻞ ﻛﻴﺎﻥ ﻳﺪﻋﻰ ﺍﻹﻧﺴﺎﻥ‪،‬‬
‫ﻳﻌﺘﻠﻲ ﺑﺪﻭﺭﻩ ﺳﻠﻢ ﺍ‪‬ﺪ‪ ،‬ﺗﻔﺘﺢ ﻟﻪ ﺍﻟﺪﻧﻴﺎ ﺃﺑﻮﺍﺏ ﺍﻟﻨﺠﺎﺡ ﻭﺍﻟﺘﻄﻮﺭ‪ ،‬ﺗﺴﻤﺢ‬
‫ﻭﺣﺴﻨﻬﺎ ﻣﺎ ﻳﺸﺎﺀ‪ ،‬ﻭﻳﺤﺘﺮﻑ ﺍﻟﻌﺸﻖ ﻭﺍﻟﺮﻏﺒﺔ‪،‬‬ ‫ﻟﻪ ﺑﺄﻥ ﻳﻨﻬﻞ ﻣﻦ ﺧﻴﺮﺍﺗﻬﺎ ﹸ‬
‫ﻳﺤﻠﻞ ﺃﺳﺮﺍﺭ ﺍﳉﺴﺪ‪ ،‬ﻭﻳﻔﻚ ﺭﻣﻮﺯﻩ ﻭﻳﺴﻤﻊ ﻧﺪﺍﺀﻩ‪ ،‬ﺗﻐﺮﻳﻪ ﺍﳊﻴﺎﺓ‪ ،‬ﻭﳝﺘﻠﺊ ﺣﺪ‬
‫ﺍﻟﺘﺨﻤﺔ‪ ،‬ﺗﻠﺜﻤﻪ ﻓﻲ ﻗﺒﺮ ﻭﺗﺮﺣﻞ‪.‬‬
‫ﻋﻠﻰ ﻫﺬﻩ ﺍﻷﺭﺽ ﻣﺎ ‪ ...‬ﻗﻠﺖ‪ :‬ﻳﻜﻔﻲ ﻫﺬﻳﺎﻥ‪.‬‬

‫‪15‬‬
 ‫اﻻﺑﻨﺔ اﻟﻤﻄﻴﻌﺔ‬
‫ﺧﺎﻃﺮﺓ ﺑﻘﻠﻢ ﻣﻨﺎﺭ ﺍﻟﺒﻼﺻﻲ ‪ -‬ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ ”ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ“‪ /‬ﺑﺘﺼﺮﻑ‬
‫ﻟﻌﻠﻬﺎ ﲡﺪ ﻟﻬﺎ ﻣﻨﻪ ﺃﻣﻨﺎ ﹰ ﻭﺃﻣﺎﻧﺎ ﹰ‪ ..‬ﺃﺧﺬﺕ ﺭﻧﲔ ﺗﺘﺬﻛﺮ ﺃﺣﺪﺍﺙ ﺗﻠﻚ ﺍﻟﻠﻴﻠﺔ‬ ‫ﺗﺴﻠﻠﺖ ﺇﻟﻰ ﻏﺮﻓﺘﻬﺎ ﺑﺎﻛﻴﺔ‪ ،‬ﻣﺤﻤﺮﺓ ﺍﻟﻮﺟﻨﺘﲔ ﺩﺍﻣﻌﺔ ﺍﻟﻌﻴﻨﲔ‪ ،‬ﺃﺧﺬﺕ‬
‫ﺍﳌﺸﺌﻮﻣﺔ‪ ،‬ﻓﻘﺪ ﻛﺎﻥ ﺧﺎﻟﻬﺎ ﻛﻠﻤﺎ ﺯﺍﺭﻫﺎ ﺑﺤﺠﺔ ﺍﻃﻤﺌﻨﺎﻧﻪ ﻋﻠﻴﻬﺎ ﻳﺤﺎﻭﻝ‬ ‫ﺗﺒﻜﻲ ﻭﺗﺮﲡﻒ ﺑﺸﺪﺓ‪ ،‬ﺗﺒﻜﻲ ﺑﻨﻬﻢ ﻟﻢ ﻳﹸﻌﺮﻑ ﻟﻪ ﻣﺜﻴﻞ‪ ،‬ﻭﺗﻘﻮﻝ ﻭﺗﻜﺮﺭ‬
‫ﺍﻟﺘﺤﺮﺵ ﺑﻬﺎ‪ ،‬ﻳﺪﺍﻋﺒﻬﺎ‪ ،‬ﻳﺤﺎﻭﻝ ﺗﻘﺒﻴﻠﻬﺎ ﺑﻄﺮﻳﻘﺔ ﻣﺸﻴﻨﺔ‪ ،‬ﻳﺘﻠﻤﺲ ﺃﺟﺰﺍ ﹰﺀ‬ ‫ﻋﺒﺎﺭﺍﺕ ﻓﻲ ﺧﻀﻢ ﻫﺴﺘﻴﺮﻳﺘﻬﺎ‪ :‬ﳌﺎﺫﺍ ﺃﻧﺎ ﻳﺎ ﺭﺑﻲ؟ ﳌﺎﺫﺍ ﺃﻧﺎ؟‬
‫ﻣﻦ ﺟﺴﺪﻫﺎ‪ ،‬ﺍﻷﻣﺮ ﺍﻟﺬﻱ ﻳﺠﻌﻠﻬﺎ ﺗﻨﻬﺎﺭﺑﻌﺪ ﺭﺣﻴﻠﻪ‪...‬‬ ‫ﹶ‬
‫ﺭﻧﲔ ﻓﺘﺎﺓ ﺃﻧﻌﻢ ﺍﷲ ﻋﻠﻴﻬﺎ ﺑﺠﻤﺎﻝ ﺃﺧﹼ ﺎﺫ‪ ،‬ﻋﻴﻨﺎﻥ ﺯﺭﻗﺎﻭﺍﻥ‪ ،‬ﻭﻗﻮﺍﻡ ﳑﺸﻮﻕ‪،‬‬
‫ﺣﺎﻭﻟﺖ ﺭﻧﲔ ﺃﻥ ﺗﺨﺒﺮ ﻭﺍﻟﺪﺗﻬﺎ ﲟﺎ ﺑﺪﺭ ﻣﻦ ﺧﺎﻟﻬﺎ‪ ،‬ﻓﻘﺪ ﻗﺎﻟﺖ ﻟﻨﻔﺴﻬﺎ‪:‬‬ ‫ﺃﻫﻠﺘﻬﺎ ﻟﺘﻜﻮﻥ ﻣﺤﻂ‬ ‫ﻭﺷﻌﺮ ﻛﺎﳊﺮﻳﺮ‪ ،‬ﻓﺘﺎﺓ ﺗﻨﻌﻢ ﺑﻘﺪﺭﹴ ﻭﺍﻓﺮ ﻣﻦ ﺍﻷﻧﻮﺛﺔ ﺍﻟﺘﻲ ﹼ‬
‫ﻣﻦ ﺳﻴﻨﺠﺪﻧﻲ ﻣﻨﻪ ﺳﻮﻯ ﺃﻣﻲ؟! ﻇﻨﺎ ﹰ ﻣﻨﻬﺎ ﺃﻧﻬﺎ ﺳﺘﺠﺪ ﻟﻬﺎ ﻣﻠﺠﺄ ﹰ ﺁﻣﻨﺎ ﹰ‬ ‫ﺃﻧﻈﺎﺭ ﺃﻗﺮﺍﻧﻬﺎ ﻭﻗﺮﻳﻨﺎﺗﻬﺎ ﻓﻲ ﺍﻟﺴﻦ‪ ،‬ﻧﺎﻫﻴﻚ ﻋﻦ ﺫﻛﺎﺋﻬﺎ ﺍﳌﺘﹼﻘﺪ‪ ..‬ﻛﺎﻧﺖ ﺭﻧﲔ‬
‫ﺻﻌﻘﺖ ﻣﻦ ﺭﺩﺓ ﻓﻌﻞ ﺃﻣﻬﺎ ﺍﻟﺘﻲ ﺿﺮﺑﺘﻬﺎ ﻭﺃﺧﺬﺕ‬ ‫ﻋﻨﺪ ﻭﺍﻟﺪﺗﻬﺎ‪ ،‬ﻟﻜﻨﻬﺎ ﹸ‬ ‫ﻣﺠﺪﺓ ﻭﻣﺠﺘﻬﺪﺓ‪،‬‬‫ﺫﺍﺕ ﺍﻟﺜﺎﻣﻨﺔ ﻋﺸﺮﺓ ﺭﺑﻴﻌﺎ ﹰ ﻃﺎﻟﺒﺔ ﻓﻲ ﺍﻟﺜﺎﻧﻮﻳﺔ ﺍﻟﻌﺎﻣﺔ‪ ،‬ﹺ‬
‫ﺗﺴﺒﻬﺎ ﻭﺗﺸﺘﻤﻬﺎ‪ ،‬ﻭﺫﻟﻚ ﻷﻧﻬﺎ ﻇﻨﺖ ﺑﺄﻥ ﺭﻧﲔ ﺗﺨﺘﻠﻖ ﻫﺬﻩ ﺍﻷﻣﻮﺭ ﻋﻦ‬ ‫ﹸ‬ ‫ﺗﻬﻢ ﻋﻠﻰ ﺍﻟﺪﺭﺍﺳﺔ ﺑﻨﻬﻢ ﻭﺑﺸﻐﻒ ﻛﺒﻴﺮﻳﻦ‪ ،‬ﻓﻘﺪ ﻛﺎﻧﺖ ﺩﺍﺋﻤﺎ ﹰ ﲢﻈﻰ‬
‫ﺧﺎﻟﻬﺎ ﻭﺣﺬﺭﺗﻬﺎ ﺃﻥ ﺗﺘﻔﻮﻩ ﺑﺒﻨﺖ ﺷﻔﺔ ﻣﻊ ﺃﺣﺪ ﻓﻲ ﻫﺬﺍ ﺍﳌﻮﺿﻮﻉ ‪ ..‬ﺑﻘﻴﺖ‬ ‫ﺑﺎﻟﻜﺜﻴﺮ ﻣﻦ ﻋﺒﺎﺭﺍﺕ ﺍﻟﺘﺸﺠﻴﻊ ﻣﻦ ﻣﻌﻠﻤﻴﻬﺎ ﻭﻣﻌﻠﻤﺎﺗﻬﺎ ﻟﺸﺪﺓ ﺫﻛﺎﺋﻬﺎ‪..‬‬
‫ﺭﻧﲔ ﺗﻜﺎﺑﺪ ﻭﺗﻌﺎﻧﻲ ﻣﻦ ﺧﺎﻟﻬﺎ ﺃﻫﻮﺍﻻ ﻭﺃﻫﻮﺍﻻ ﺇﻟﻰ ﺃﻥ ﺣﺎﻧﺔ ﺳﺎﻋﺔ ﺍﻟﺼﻔﺮ‪،‬‬ ‫ﺑﻌﺪ ﻣﺮﻭﺭ ﺃﺭﺑﻌﺔ ﺃﺷﻬﺮ ﻣﻦ ﺳﻨﺔ ﺍﻟﺜﺎﻧﻮﻳﺔ ﻻﺣﻆ ﻣﻌﻠﻤﻮ ﺭﻧﲔ ﺗﺪﻫﻮﺭﺍ ﹰ‬
‫ﻓﻠﻢ ﻳﻌﺪ ﺍﳋﺎ ﹸﻝ ﻳﻜﺘﻔﻲ ﲟﺠﺮﺩ ﻗﺒﻼﺕ ﻣﺴﺮﻭﻗﺔ ﺃﻣﺎﻡ ﺇﻏﺮﺍﺀ ﺫﺍﻙ ﺍﳉﺴﺪ‪،‬‬ ‫ﻏﺮﻳﺒﺎ ﹰ ﻏﻴﺮ ﻣﺴﺒﻮﻕ ﻓﻲ ﻋﻼﻣﺎﺗﻬﺎ‪ ،‬ﻭﻻﺣﻈﻮﺍ ﺩﻭﺍﻡ ﺑﻜﺎﺋﻬﺎ ﻓﻲ ﻏﺮﻓﺔ ﺍﻟﺼﻒ‪،‬‬
‫ﻓﺎﻧﺘﻬﺰ ﻓﺮﺻﺔ ﺫﻫﺎﺏ ﺃﻣﻬﺎ ﺇﻟﻰ ﺍﻟﺴﻮﻕ ﻟﺸﺮﺍﺀ ﺑﻌﺾ ﺍﻷﻏﺮﺍﺽ ﻭﺍﻧﺘﻈﺮ ﻋﻮﺩﺓ‬ ‫ﻭﻛﺮﻫﻬﺎ ﺍﻟﺸﺪﻳﺪ ﻟﻠﻌﻮﺩﺓ ﺇﻟﻰ ﺍﳌﻨﺰﻝ‪ ،‬ﺣﺎﻭﻝ ﺍﳌﻌﻠﻤﻮﻥ ﻣﻌﺮﻓﺔ ﺳﺒﺐ ﺗﻐﻴﺮﻫﺎ‬
‫ﺭﻧﲔ ﺇﻟﻰ ﺍﳌﻨﺰﻝ ﻭﻗﺒﻞ ﺃﻥ ﺗﹸﻘﻔﻞ ﺭﻧﲔ ﺍﻟﺒﺎﺏ ﺩﺍﻫﻤﻬﺎ ﻭﻓﺘﺢ ﺍﻟﺒﺎﺏ ﻭﺩﺧﻞ‪..‬‬ ‫ﺍﳌﻔﺎﺟﺊ ﻭﻟﻜﻦ ﻟﻢ ﻳﺘﻤﻜﻨﻮﺍ ﻣﻦ ﺫﻟﻚ‪ ..‬ﻭﻓﻲ ﺃﺣﺪ ﺍﻷﻳﺎﻡ ﺟﺎﺀﺕ ﺭﻧﲔ ﺇﻟﻰ‬
‫ﺷﺞ ﺭﺃﺳﻬﺎ ﻭﺭﻣﺎﻫﺎ ﻋﻠﻰ ﺍﻷﺭﺽ‪،‬‬ ‫ﺍﻧﻘﺾ ﻋﻠﻴﻬﺎ ﻛﻮﺣﺶ ﻛﺎﺳﺮ‪ ،‬ﺿﺮﺑﻬﺎ‪ ،‬ﹼ‬ ‫ﺍﳌﺪﺭﺳﺔ ﺑﻮﺟ ﹴﻪ ﻣﺼﻔﺮ ﻭﺑﺨﻮﻑ ﻟﻴﺲ ﻟﻪ ﻣﺜﻴﻞ‪ ،‬ﺣﺎﻭﻟﺖ ﻣﺮﺷﺪﺓ ﺍﳌﺪﺭﺳﺔ‬
‫ﻣﺰﹼﻕ ﻣﺮﻳﻮﻝ ﻣﺪﺭﺳﺘﻬﺎ ﻭﻫﺘﻚ ﻋﺮﺿﻬﺎ‪ ..‬ﻧﻬﺐ ﻃﻔﻮﻟﺘﻬﺎ ﻭﺑﺮﺍﺀﺗﻬﺎ‪ ،‬ﻭﺗﺮﻛﻬﺎ‬ ‫ﺗﻬﺪﺋﺘﻬﺎ ﻭﺍﻻﺳﺘﻔﺴﺎﺭ ﻋﻤﺎ ﺃﻭﺻﻠﻬﺎ ﻟﻬﺬﻩ ﺍﳊﺎﻝ‪ ..‬ﻭﻟﻜﻦ ﺍﺷﺘﺪ ﺑﻜﺎﺅﻫﺎ‬
‫ﺗﺴﺒﺢ ﻓﻲ ﺑﺤﺮ ﻣﻦ ﺍﻟﺪﻣﺎﺀ ﻭﻻﺫ ﺑﺎﻟﻔﺮﺍﺭ ‪..‬‬ ‫ﻭﺑﻘﻴﺖ ﺻﺎﻣﺘﺔ ﺗﻌﺾ ﻋﻠﻰ ﺃﺻﺎﺑﻌﻬﺎ ﻣﻦ ﻗﻬﺮﻫﺎ ﻭﻋﺪﻡ ﻣﻘﺪﺭﺗﻬﺎ ﻋﻠﻰ‬
‫ﻭﺑﻬﺬﻩ ﺍﳊﺎﻝ ﻇﻠﺖ ﺭﻧﲔ ﺗﻜﺎﺑﺪ ﻣﺎ ﺭﺃﺗﻪ ﻣﻦ ﺧﺎﻟﻬﺎ ﺩﻭﻥ ﺃﻥ ﺗﺘﻔﻮﻩ ﻷﺣﺪﻫﻢ‬ ‫ﻣﺼﺎﺭﺣﺔ ﻣﻌﻠﻤﺘﻬﺎ ﲟﺎ ﻳﺆﳌﻬﺎ‪ ..‬ﺗﺪﻫﻮﺭﺕ ﺣﺎﻟﺔ ﺭﻧﲔ ﺃﻛﺜﺮ ﻓﺄﻛﺜﺮ ﻭﺗﺮﺍﺟﻌﺖ‬
‫ﻷﻡ ﺭﹶﺀﻭﻡ‪.‬‬ ‫ﹰ‬ ‫ﹰ‬
‫ﺑﺒﻨﺖ ﺷﻔﺔ‪ ..‬ﻭﻓﻀﻠﺖ ﺃﻥ ﺗﻜﻮﻥ ﺇﺑﻨﺔ ﻣﻄﻴﻌﺔ ﹴ‬ ‫ﺣﺎﻟﺘﻬﺎ ﺍﻟﺼﺤﻴﺔ ﻭﺃﺻﻴﺒﺖ ﺑﺎﻧﻬﻴﺎﺭ ﻋﺼﺒﻲ ﺣﺎﺩ ﺟﻌﻠﻬﺎ ﺗﻌﻴﺶ ﻓﻲ ﻋﺰﻟﺔ‬
‫ﺭﻛﻦ ﻓﻲ ﻏﺮﻓﺘﻬﺎ ﺗﺘﺂﻧﺲ ﺑﻈﻼﻣﻬﺎ ﻭﺗﺘﺪﺛﺮ ﺑﻐﻄﺎﺋﻬﺎ‬ ‫ﺩﺍﺋﻤﺔ ﻭﻫﻲ ﻗﺎﺑﻌﺔ ﻓﻲ ﹴ‬

‫رﺳﺎﻟﺔ إﻟﻰ ﻣﻦ ﺳﺘﺮﺣﻞ‬

‫ﺧﺎﻃﺮﺓ ﺑﻘﻠﻢ ﺑﺸﺮﻯ ﺃﺑﻮ ﺻﺎﳝﺔ – ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ »ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ«‬

‫ﻣﺨﻠﻮﻕ ﺗﻨﺴﻴﻨﻪ ﻓﻲ ﻫﺬﺍ ﺍﻟﻮﺟﻮﺩ‪ ..‬ﻗﺪ ﺗﺮﺣﻠﲔ ﺇﻟﻰ ﺍﳌﻜﺎﻥ ﺍﻟﺬﻱ ﻻ ﻳﻌﻮﺩﻭﻥ ﻣﻨﻪ ﺇﻟﻰ ﺍﻷﺑﺪ‪،‬‬
‫ﹴ‬ ‫ﻟﻚ ﻳﺎ ﺻﺪﻳﻘﺘﻲ ﺁﺧﺮﹶ ﺻﻔﺤﺔ‪ ،‬ﻷﻧﻨﻲ ﺃﲤﻨﻰ ﺃﻥ ﺃﻛﻮﻥ ﺁﺧﺮ‬ ‫ﺃﻛﺘﺐ ﹺ‬
‫ﺃﺣﺒﻚ ﻭﺳﺄﺣﺒﻚ ﺩﺍﺋﻤﺎ‪ ،‬ﻟﻜﻦ ﻛﺘﺐ ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﻌﻴﺶ ﻏﺮﺑﺎﺀ ﻓﻲ ﻫﺬﻩ ﺍﳊﻴﺎﺓ‪،‬‬
‫ﹺ‬ ‫ﺭﻭﺣﻚ ﺩﻭﻣﺎ ﹰ‪ ..‬ﺇﻋﻠﻤﻲ ﻳﺎ ﺻﺪﻳﻘﺘﻲ ﺃﻧﻨﻲ‬
‫ﹺ‬ ‫ﻣﻼﻙ ﻓﻲ ﺍﻟﺴﻤﺎﺀ‪ ،‬ﺗﺮﺍﻓﻘﻨﻲ‬‫ﹴ‬ ‫ﺗﺘﺤﻮﻟﲔ ﺇﻟﻰ‬
‫ﳝﺤﻮﻙ ﺑﺤﻘﺪﻩ ﻭﺃﳌﻪ‪.‬‬
‫ﹺ‬ ‫ﺃﻧﺖ ﻭﻛﻞ ﻣﻦ ﺃﺣﺐ ﺣﺘﻰ ﻻ ﻳﺘﻤﻜﻦ ﺍﻟﺰﻣﺎﻥ ﻣﻦ ﺃﻥ‬
‫ﺣﻔﺮﺗﻚ ﻓﻲ ﻗﻠﺒﻲ ﻛﻤﺎ ﺃﺣﻔﺮ ﻋﻠﻰ ﺣﺠﺮ ﹺ‬ ‫ﹺ‬ ‫ﺃﻥ ﲢﻄﻤﻨﺎ ﺍﻟﻬﻤﻮﻡ ﻭﺍﳌﺸﺎﻛﻞ‪ ،‬ﻓﻘﺪ‬
‫ﺇﻟﻴﻚ ﻟﻜﻦ‪ ..‬ﻋﻨﺪﻫﺎ ﻟﻦ ﺃﺑﺤﺚ ﻋﻨﻚ ﺳﻮﻯ ﻓﻲ ﻗﻠﺒﻲ ﺍﻟﺬﻱ ﺗﺴﻜﻨﻴﻨ ﹸﻪ‪ ..‬ﲢﺘﻠﻴﻨ ﹸﻪ‪..‬‬
‫ﹺ‬ ‫ﺳﺄﺷﺘﺎﻕ‬ ‫ﳑﺮ‪،‬‬ ‫ﻛﻞ‬ ‫ﻓﻲ‬ ‫ﻣﻜﺎﻥ‪،‬‬ ‫ﻛﻞ‬ ‫ﻓﻲ‬ ‫ﺧﻄﻮﺓ‪،‬‬ ‫ﺇﺭﺣﻠﻲ‪ ،‬ﻓﻘﻠﺒﻲ ﻳﺮﺍﻓﻘﻚ ﺑﻜﻞ‬
‫ﺭﻓﻴﻘﻚ ﻳﺎ ﺻﺪﻳﻘﺘﻲ‪ ،‬ﺇﺫﻫﺒﻲ ﻓﻼ ﻣﻜﺎﻥ ﻫﻨﺎﻙ ﻟﻠﻤﺮﺽ ﻭﻻ ﻣﻜﺎﻥ ﻫﻨﺎﻙ ﻟﻸﻟﻢ ‪...‬‬ ‫ﹸ‬
‫ﺃﺭﺍﻙ ﺯﺍﻫﻴ ﹰﺔ‪ ،‬ﻣﺸﺮﻗ ﹰﺔ‪ ،‬ﺟﻤﻴﻠ ﹰﺔ‪ ..‬ﺃﷲ‬
‫ﹺ‬ ‫ﹺ‬

‫‪16‬‬
 ‫ﺗﺤﻠﻤﻴﻦ ﺑﺎﻟﻤﺪرﺳﺔ ‪....‬‬
‫ﺧﺎﻃﺮﺓ ﺑﻘﻠﻢ ﺟﻴﻬﺎﻥ ﻳﺤﻴﻰ – ﻏﺰﺓ‬
‫ﻧﻔﻀﺖ ﻋﻨﻬﺎ ﺑﻘﺎﻳﺎ ﺣﻠﻤﻬﺎ‪ ..‬ﻓﺮﻛﺖ ﺍﳌﺸﻬﺪ ﺍﻷﺧﻴﺮ ﺑﻌﻴﻨﻴﻬﺎ ﻭﻗﺎﻣﺖ ﻟﺘﺮﺗﺪﻱ ﻣﻼﺑﺲ ﻣﺪﺭﺳﺘﻬﺎ ﻋﻠﻰ ﻋﺠﻞ‪ ..‬ﺳﻴﺪﻕ ﺟﺮﺱ ﺍﳌﺪﺭﺳﺔ ﺑﻌﺪ ﺩﻗﺎﺋﻖ ﻗﻠﻴﻠﺔ‪..‬‬
‫ﻫﻜﺬﺍ ﻭﺷﻮﺷﺘﻬﺎ ﺃﺷﻌﺔ ﺍﻟﺸﻤﺲ‪ ..‬ﳊﻈﺎﺕ ﺃﻗﻞ ﳑﺎ ﲢﺘﺎﺟﻴﻨﻪ ﻟﻜﻞ ﻣﺎ ﻋﻠﻴﻚ ﺍﻟﻘﻴﺎﻡ ﺑﻪ ﻗﺒﻞ ﺍﻟﻮﺻﻮﻝ ﻟﻠﻤﺪﺭﺳﺔ‪ ..‬ﺭﻛﻀﺖ ﻣﻐﺎﺩﺭﺓ ﺑﻌﺪ ﺃﻥ ﻟﺒﺴﺖ ﺯﻳﻬﺎ‬
‫ﺍﳌﺪﺭﺳﻲ ﻭﺟﺮﺕ ﻓﻲ ﺍﻟﻄﺮﻳﻖ‪ ..‬ﻛﻞ ﻣﺎ ﻳﺮﺍﻭﺩ ﺧﻴﺎﻟﻬﺎ ﻫﻮ ﺍﻷﺳﺘﺎﺫ ﺻﺒﺤﻲ ﺑﻜﺮﺷﻪ ﺍﳌﻨﺘﻔﺨﺔ ﻭﺑﻨﻄﺎﻟﻪ ﺍﻟﺬﻱ ﻻ ﻳﺘﻨﺎﺳﺐ ﺃﺑﺪﺍ ﻣﻊ ﻗﻤﻴﺼﻪ ﺍﳌﺸﺠﺮ‪ ،‬ﺳﻴﻮﺑﺨﻬﺎ‬
‫ﺑﺸﺪﺓ ﻟﺘﺄﺧﺮﻫﺎ‪ ..‬ﻋﻨﺪﻣﺎ ﺍﻗﺘﺮﺑﺖ ﻗﺪﻣﺎﻫﺎ ﺍﻟﺼﻐﻴﺮﺗﺎﻥ ﻣﻦ ﺍﳌﺪﺭﺳﺔ‪ ..‬ﻟﻢ ﺗﺮ ﺃﻱ ﻃﺎﻟﺒﺔ‪ ،‬ﺳﻤﻌﺖ ﺻﻮﺗﺎ ﹰ ﻳﻨﺎﺩﻳﻬﺎ ﻣﻦ ﺍﳋﻠﻒ‪ ..‬ﺍﺳﺘﺪﺍﺭﺕ ﺑﺪﻫﺸﺔ ﻓﺘﺴﻤﺮﺕ ﻓﻲ‬
‫ﻣﻜﺎﻧﻬﺎ ﻋﻨﺪﻣﺎ ﻭﺟﺪﺕ ﺍﻷﺳﺘﺎﺫ ﺻﺒﺤﻲ ﺑﻜﺮﺷﻪ ﺍﳌﻨﺘﻔﺨﺔ‪ ،‬ﻣﺮﺗﺪﻳﺎ ﺗﺮﻳﻨﻨﻎ ﺣﺎﻣﻼ ﺻﺤﻨﺎ ﻣﻦ ﺍﻟﻔﻮﻝ ﻳﺘﺴﺎﺀﻝ ﻣﺒﺘﺴﻤﺎ ﹰ‪ :‬ﻣﺎﺫﺍ ﺑﻚ ﻳﺎ ﺍﺑﻨﺘﻲ؟‬
‫ﺗﻠﻌﺜﻤﺖ ﻓﻲ ﻗﻮﻟﻬﺎ ﺑﺸﺪﺓ‪ ..‬ﺃﺧﺬﺕ ﲢﺎﻭﻝ ﺗﺬﻛﺮ ﻗﺎﺋﻤﺔ ﺍﻷﺳﺒﺎﺏ ﺍﻟﺘﻲ ﺃﻋﺪﺗﻬﺎ ﻟﺘﺒﺮﻳﺮ ﺗﺄﺧﺮﻫﺎ ﻭﻟﻜﻦ ﺍﻷﺳﺒﺎﺏ ﺟﻤﻴﻌﻬﺎ ﻫﺮﺑﺖ ﺑﻌﻴﺪﺍ ﹰ‪ ..‬ﺑﻘﻴﺖ ﻣﺘﺠﻤﺪﺓ ﻓﻲ‬
‫ﻣﻜﺎﻧﻬﺎ ﺃﻣﺎﻡ ﺍﻷﺳﺘﺎﺫ ﺻﺒﺤﻲ ﺍﻟﺬﻱ ﻧﻈﺮ ﺇﻟﻴﻬﺎ ﺑﺸﻔﻘﺔ‪ ،‬ﺍﻗﺘﺮﺏ ﻣﻨﻬﺎ ﺭ ﹼﺑﺖ ﻋﻠﻰ ﻛﺘﻔﻬﺎ ﻭﻗﺎﻝ‪ :‬ﻳﺎ ﻃﻔﻠﺘﻲ ﺍﻟﻌﺰﻳﺰﺓ‪ ،‬ﻣﺎ ﺍﻟﺬﻱ ﺟﺎﺀ ﺑﻚ ﻓﻲ ﻫﺬﺍ ﺍﻟﻴﻮﻡ‪ ..‬ﻫﻞ‬
‫ﻛﻨﺖ ﲢﻠﻤﲔ ﺑﺎﳌﺪﺭﺳﺔ؟ ‪ ..‬ﻋﻮﺩﻱ ﺇﻟﻰ ﺑﻴﺘﻚ ﻓﺎﻟﻴﻮﻡ ﻫﻮ ﻳﻮﻡ ﺍﳉﻤﻌﺔ‪.‬‬

‫»ﻣﺴﺮح ﻧﻌﻢ« ﻧﻔﺤﺔ ﻣﻦ اﻟﺤﻴﺎة‬

‫ﻭﺳﻂ ﻋﺎﻟﻢ ﻣﻠﻲﺀ ﺑﺎﻟﻼﺀﺍﺕ ﻏﻴﺮ ﺍﳌﺒﺮﺭﺓ ﻭﻭﺳﻂ ﺯﺣﻤﺔ ﻣﺴﺮﺡ ﺍﻟﻮﺍﻗﻊ ﺍ‪‬ﺮﺩ ﻣﻦ ﻛﻞ ﻭﺍﻗﻊ ﻧﻔﺤﺔ ﻣﻦ ﺍﳊﻴﺎﺓ ﻭﺍﳊﺐ ﻭﻛﺜﻴﺮ ﻣﻦ ﺍﻷﻣﻞ ﺍﳌﺘﻮﺍﺟﺪ ﻓﻲ ﻋﻘﻮﻝ‬
‫ﺷﺒﺎﺏ ﻟﻢ ﻳﻌﺮﻓﻮﺍ ﻳﻮﻣﺎ ﹰ ﺛﻘﺎﻓﺔ »ﺍﻟﻼ« ﺑﻞ ﻭﺃﺻﺮﻭﺍ ﻋﻠﻰ ﺍﺳﺘﺒﺪﺍﻟﻬﺎ »ﺑﻨﻌﻢ« ﻟﺘﺼﺒﺢ ﻋﻨﻮﺍﻥ ﻣﺆﺳﺴﺘﻬﻢ ﻭﻋﻨﻮﺍﻥ ﻧﻬﺠﻬﻢ ﻓﻲ ﺍﳊﻴﺎﺓ‪.‬‬
‫ﺑﺰﻍ ﻧﻮﺭ ﻣﺆﺳﺴﺔ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﻟﻠﺘﻮﺍﺻﻞ ﺑﲔ ﺍﻟﺸﺒﺎﺏ ﻓﻲ ﻣﺪﻳﻨﺔ ﺍﳋﻠﻴﻞ ﻋﺎﻡ ‪ 2008‬ﻟﻴﺄﺧﺬ ﺍ‪‬ﺘﻤﻊ ﻓﻲ ﺍﳌﺪﻳﻨﺔ ﻧﺤﻮ ﻣﺴﺎﺣﺔ ﺃﺧﺮﻯ ﻣﻦ ﺍﻟﻔﻦ ﻭﺍﳉﻤﺎﻝ‪،‬‬
‫ﻭﻳﺒﺘﻌﺪ ﲟﻦ ﻳﻌﺸﻘﻮﻥ ﺍﻟﻔﻦ ﺣﺘﻰ ﺍﻟﻠﺤﻈﺔ ﺍﻷﺧﻴﺮﺓ ﺑﲔ ﺍﻹﺑﺪﺍﻉ ﻭﺍﳉﻨﻮﻥ‪ ،‬ﻭﻳﺴﺪﻟﻮﻥ ﺳﺘﺎﺭﺓ ﺍﻟﻮﺍﻗﻊ ﻋﻦ ﻣﺴﺮﺡ ﺍﳊﻴﺎﺓ ﺑﺨﻔﺔ ﻭﺣﺮﻓﻴﺔ ﻏﻴﺮ ﻣﻌﻬﻮﺩﺓ‪ .‬ﻭﺭﻏﻢ‬
‫ﻛﻞ ﺍﻟﺘﺤﺪﻳﺎﺕ ﻭﺍﳌﺼﺎﻋﺐ ﺍﺳﺘﻄﺎﻉ ﻫﺆﻻﺀ ﺍﻟﺸﺒﺎﺏ ﺃﻥ ﻳﺒﻨﻮﺍ ﻷﻧﻔﺴﻬﻢ ﻗﺎﻋﺪﺓ ﻳﻨﻄﻠﻘﻮﻥ ﻣﻨﻬﺎ ﺇﻟﻰ ﺍﻟﻌﺎﻟﻢ ﻓﺘﺮﺍﻫﻢ ﺍﻟﻴﻮﻡ ﻳﻌﺮﺿﻮﻥ ﻓﻨﻬﻢ ﻭﻣﻜﻨﻮﻧﺎﺗﻬﻢ‬
‫ﺍﻟﺪﺍﺧﻠﻴﺔ ﻓﻲ ﺍﻟﺪﻭﻝ ﺍﻷﻭﺭﻭﺑﻴﺔ ﻭﺍﻟﻌﺮﺑﻴﺔ ﺃﻳﻀﺎ ﹰ ﻟﻴﺜﺒﺘﻮﺍ ﻟﻠﻌﺎﻟﻢ ﺃﻥ ﺍﳌﺴﺮﺡ ﺍﻟﻔﻠﺴﻄﻴﻨﻲ ﻣﺎﺯﺍﻝ ﻣﻮﺟﻮﺩﺍ ﹰ ﻭﻣﺎﺯﺍﻝ ﻳﺴﻄﺮ ﻗﻀﻴﺘﻪ ﻋﺒﺮ ﻛﻠﻤﺎﺕ ﻭﺷﺨﺼﻴﺎﺕ‬
‫ﺫﺍﺕ ﺃﳕﺎﻁ ﻣﺨﺘﻠﻔﺔ‪ .‬ﻭﺑﲔ ﺍﻟﺮﻣﺰﻳﺔ ﺍﻟﻌﺎﻟﻴﺔ ﻭﺍﻟﻮﺍﻗﻌﻴﺔ ﺍﳌﻤﺰﻭﺟﺔ ﺑﺸﻲﺀ ﻣﻦ ﺍﳋﻴﺎﻝ ﻳﺘﺤﻒ ﳑﺜﻠﻮ »ﻣﺴﺮﺡ ﻧﻌﻢ« ﻣﺘﺎﺑﻌﻴﻪ ﺑﺄﺭﻗﻰ ﻓﻦ ﺑﺎﻟﻮﺟﻮﺩ ﻭﻫﻮ ﻓﻦ‬
‫ﺍﻟﻜﻠﻤﺔ ﺍﳌﺘﺒﻮﻋﺔ ﺑﺤﺮﻛﺎﺕ ﺧﻔﻴﻔﺔ ﺍﻟﻈﻞ ﻟﻴﺄﺳﺮﻭﺍ ﺟﻤﻬﻮﺭ ﺍﳌﺘﻔﺮﺟﲔ ﻭﻳﺒﻘﻮﺍ ﻣﻌﻬﻢ ﻭﻳﺴﻜﻨﻮﺍ ﺑﺪﺍﺧﻠﻬﻢ ﻣﻦ ﺧﻼﻝ ﻛﻠﻤﺎﺗﻬﻢ ﻭﺇﳝﺎﺀﺍﺗﻬﻢ ﺣﺘﻰ ﺑﻌﺪ ﺣﲔ‪.‬‬
‫ﻛﻴﻒ ﻻ ﻭﻫﻢ ﻣﻦ ﺍﺳﺘﻄﺎﻉ ﺍﻟﺘﻐﻠﺐ ﻋﻠﻰ ﻣﺠﺘﻤﻊ ﻭﻭﺍﻗﻊ ﻳﺮﻓﺾ ﻛﻞ ﻣﺎ ﻫﻮ ﺟﺪﻳﺪ ﻭﻳﻘﺒﻞ ﻋﻠﻰ ﻛﻞ ﻣﺎ ﻫﻮ ﳕﻄﻲ‪ ،‬ﻛﻴﻒ ﻻ ﻭﻫﻢ ﻣﻦ ﺍﺳﺘﻄﺎﻉ ﺃﻥ ﻳﺠﻤﻊ ﺑﲔ‬
‫ﻓﻦ ﺍﻹﺩﺍﺭﺓ ﻭﻓﻦ ﺍﻹﺭﺍﺩﺓ ﻣﻌﺎﹰ؟‬
‫ﺁﻳﺔ ﺃﺑﻮ ﻣﻴﺎﻟﺔ‬
‫ﻣﻦ ﺃﺻﺪﻗﺎﺀ ﻭﻣﺘﺎﺑﻌﻲ »ﻣﺴﺮﺡ ﻧﻌﻢ«‬

‫‪17‬‬
 ‫أﺗﺮﻗﺺ ﻣﻌﻲ؟‬
‫ﺧﺎﻃﺮﺓ ﺑﻘﻠﻢ ﺩﻋﺎﺀ ﺍﻟﻌﻨﺎﺗﻲ – ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ »ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ«‬
‫ﺍﻟﺴﺎﻋﺔ ﺍﻵﻥ ﺍﻟﺜﺎﻧﻴﺔ ﻋﺸﺮﺓ ﻣﺴﺎ ﹰﺀ‪ .‬ﻭﺗﻘﻒ ﻭﻗﻔ ﹰﺔ ﻋﺴﻜﺮﻳﺔ‪ ..‬ﻭﻣﻊ ﻫﺬﺍ ﺳﺄﻣﺪ ﻟﻚ ﻳﺪﻱ ﻷﺭﻗﺺ ﻟﻚ ﻫﺬﻩ ﺍﳌﺮﺓ‪ ..‬ﺭﻗﺼﺔ ﻓﻠﺴﻄﻴﻨﻴﺔ‪ ،‬ﻋﻠﻰ ﻣﺴﺮﺡ ﺍﳉﺮﺍﺡ ﻣﻨﺬ‬
‫!‬ ‫ﻋﻬﺪ ﺍﻟﻨﻜﺒﺔ ﺍﻷﻭﻟﻰ ﺣﺘﻰ ﺁﺧﺮ ﻧﻜﺒﺔ ﻟﻢ ﺗﻄﺒﻊ ﻓﻲ ﺍﻟﺼﺤﻒ ﺑﻌﺪ‪ ،‬ﻭﻟﻢ ﲢﻚ ﻋﻨﻬﺎ ﺗﻠﻚ ﺍﳌﺬﻳﻌﺔ ﺍﻷﻧﻴﻘﺔ‬
‫ﻟﻠﺤﻦ ﻣﺎ‪ ..‬ﻟﺸﺨﺺ ﻗﺮﺭ‬
‫ﹴ‬ ‫ﻟﻦ ﺗﻐﻀﺐ ﺇﻥ ﺃﺧﺒﺮﺗﻚ ﺑﺎﻥ ﺭﻗﺼﺘﻲ ﻫﺬﻩ ﻟﻦ ﺗﻜﻮﻥ ﻓﻲ ﺍﻟﺜﻮﺏ ﺍﳌﻄﺮﺯ ﻭﻻ ﻋﻠﻰ ﺗﻠﻚ »ﺍﻟﺪ ﹼﻗﺔ« ﺍﻟﻔﻠﺴﻄﻴﻨﻴﺔ ﺇﳕﺎ ﺳﺘﻜﻮﻥ ﺭﻗﺼﺔ‬
‫ﹰ‬
‫ﺻﻮﺕ ﺁﺧﺮ ﻟﻢ ﺗﻌﻬﺪ ﺳﻤﺎﻋﻪ‪ ..‬ﻟﻜﻦ ﻋﻨﺪﻣﺎ‬
‫ﹲ‬ ‫ﺃﻥ ﻳﻐﻨﻲ ﻭﻳﻠﺤﻦ ﻣﻘﻄﻮﻋﺔ ﻋﻠﻰ ﺭﻑ ﺇﻧﺴﺎﻥ ﻟﻢ ﻧﻌﺮﻓﻪ ﺑﻌﺪ ﻭﺭﲟﺎ ﳒﺪ ﺻﻌﻮﺑﺔ ﻓﻲ ﻟﻔﻆ ﺍﺳﻤﻪ‪ ،‬ﺭﲟﺎ ﻳﻜﻮﻥ ﻫﺬﺍ‬
‫ﻗﺪﻣﻲ‪ ..‬ﻭﺳﺘﺼﻔﻖ ﻟﻲ‬
‫ﹼ‬ ‫ﹰ‬
‫ﺗﻨﺲ ﺃﻥ ﺗﺒﻌﺜﺮ ﺃﻭﺭﺍﻕ ﻗﺼﺔ ﻣﺎ ﻟﻐﺴﺎﻥ ﻛﻨﻔﺎﻧﻲ ﻋﻠﻰ ﺭﺃﺳﻲ ﺗﻜﺮﳝﺎ ﻟﺮﻗﺼﺘﻲ ﻫﺬﻩ‪ ..‬ﻭﺳﺄﺿﻊ ﻗﻴﺪ ﻳﺪﻙ ﺧﻠﺨﺎﻻ ﻓﻲ‬‫ﺃﺑﺪﺃ ﺑﺎﻟﺮﻗﺺ ‪ ..‬ﻻ ﹶ‬
‫ﺑﺂﺧﺮ ﻣﺎ ﺗﺒﻘﻰ ﻣﻨﻚ ﻣﻦ ﺩﻫﺸﺔ‪ ،‬ﻭﺳﻨﺸﺮﺏ ﺍﻟﻨﺴﻴﺎﻥ ﺣﺪ ﺍﻟﺜﻤﺎﻟﺔ‪ ..‬ﳊ ﹴﺪ ﻧﺼﻞ ﻓﻴﻪ ﺣ ﱠﺪ ﺍﻟﻼﻋﻮﺩﺓ‪ ..‬ﻋﻮﺩﺓ ﺍﻻﺷﺘﻴﺎﻕ ﻭﺍﻻﻟﺘﻔﺎﺕ ﻟﻠﺨﻠﻒ‪ ،‬ﺳﻨﺮﻗﺺ ﻣﻌﺎ ﻋﻠﻰ‬
‫ﻣﺴﺮﺡ ﺍﳉﺮﺍﺡ ﻣﻨﺬ ﻋﻬﺪ ﺍﻟﻨﻜﺒﺔ ﺍﻷﻭﻟﻰ‪ ..‬ﻭﺳﻨﺘﺒﺎﺩﻝ ﺍﻟﻀﺤﻜﺎﺕ ﻭﺍﻟﻨﻈﺮﺍﺕ ﺍﻟﺴﺮﻳﻌﺔ ﻭﻻ ﺑﻘﻴﺔ ﻟﻠﻴﻮﻡ‪ ..‬ﻭﻻ ﻧﻬﺎﻳﺔ ﺃﺻﻼ‪.‬‬
‫ﺗﺎﺭﻳﺦ ﻣﺎ‪.‬‬
‫ﹴ‬ ‫ﻛﻬﺮﺑﺎﺋﻲ ﺗﺸﺮﺏ ﺍﳊﻨﲔ ﻟﺘﻔﺎﺻﻴﻞ ﻋﺎﺷﺘﻬﺎ ﻓﻲ‬
‫ﱟ‬ ‫ﺑﺴﻠﻚ‬
‫ﹴ‬ ‫ﺧﺸﺒﻲ ﻣﺮﺑﻮﻃﺔ‬
‫ﱟ‬ ‫ﻛﺮﺳﻲ‬
‫ﱟ‬ ‫ﻣﻼﺣﻈﺔ‪ :‬ﻫﺬﺍ ﺻﻮﺕ ﻷﻧﺜﻰ ﻻ ﺗﻜﺒﺮ‪ ،‬ﲡﻠﺲ ﻣﻨﺬ ﻋﺎﻡ ‪ 48‬ﻋﻠﻰ‬

‫أﻳﻦ ﻧﺤﻦ ﻣﻦ ﺗﺮاﺛﻨﺎ؟؟‬

‫ﺍﻟﺘﺮﺍﺙ ﺟﺰﺀ ﻻ ﻳﺘﺠﺰﺃ ﻣﻦ ﻫﻮﻳﺘﻨﺎ‪ ،‬ﺑﻪ ﻧﻘﻮﻯ ﻭﺑﻪ ﻳﺰﺩﺍﺩ ﺍﻧﺘﻤﺎﺅﻧﺎ ﻟﻬﺬﻩ ﺍﻷﺭﺽ‪ ،‬ﻓﻬﻮ ﺍﻟﺰﺍﺩ ﺍﻟﺬﻱ ﻧﺘﺰﻭﺩ ﺑﻪ ﻓﻲ ﺳﻔﺮﻧﺎ ﺍﻟﻄﻮﻳﻞ ﺣﺘﻰ ﻧﻜﻤﻞ ﺍﳌﺸﻮﺍﺭ‪ ،‬ﻭﻫﻮ ﺍﻟﺴﻼﺡ‬
‫ﺍﻟﺬﻱ ﻧﺴﺘﺨﺪﻣﻪ ﻟﻨﺜﺒﺖ ﺑﺄﻥ ﻫﺬﻩ ﺍﻷﺭﺽ ﻟﻨﺎ‪ ،‬ﻓﻤﺎ ﻫﻮ ﻭﺍﺟﺒﻨﺎ ﲡﺎﻩ ﺗﺮﺍﺛﻨﺎ؟ ﺃﻳﻦ ﻫﻲ ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺘﻲ ﻧﺮﻯ ﻓﻴﻬﺎ ﺍﻹﻧﺴﺎﻥ ﺍﻟﻔﻠﺴﻄﻴﻨﻲ ﺑﺒﺴﺎﻃﺘﻪ‬
‫ﻭﺭﺳﻮﺧﻪ ﻓﻲ ﺃﺭﺿﻪ؟ ﻭﺃﻳﻦ ﻫﻲ ﺃﻏﺎﻧﻴﻨﺎ ﻭﺃﻫﺎﺯﻳﺠﻨﺎ ﺍﻟﺘﻲ ﺗﺼﺮﺥ ﺍﻟﻴﻮﻡ ﺑﺄﻋﻠﻰ ﺻﻮﺗﻬﺎ »ﺃﻧﺎ ﻣﻨﻜﻢ ﻓﺄﻳﻦ ﺃﻧﺘﻢ ﺍﻟﻴﻮﻡ ﻣﻨﻲ؟« ﺃﻳﻦ ﺗﻠﻚ ﺍﻷﻏﺎﻧﻲ ﺍﻟﺘﻲ ﺭﺳﻤﺖ ﻟﻨﺎ‬
‫ﺃﺭﻭﻉ ﺻﻮﺭ ﺍﻟﺘﻜﺎﻓﻞ ﺍﻻﺟﺘﻤﺎﻋﻲ ﻭﺣﺐ ﺍﻷﺭﺽ ﻭﺍﻟﺰﻳﺘﻮﻥ؟ ﻓﺄﻏﻨﻴﺔ »ﻋﻠﻰ ﺩﻟﻌﻮﻧﻪ ﻭﻋﻠﻰ ﺩﻟﻌﻮﻧﻪ‪ ،‬ﺯﻳﺘﻮﻥ ﺑﻼﺩﻱ ﺃﺟﻤﻞ ﻣﺎ ﻳﻜﻮﻧﺎ« ﻟﻦ ﺗﺴﺎﻣﺢ ﺃﺑﻨﺎﺀﻧﺎ ﺇﺫﺍ ﺗﺨﻠﻮﺍ‬
‫ﻋﻨﻬﺎ ﻭﻟﻦ ﻳﺴﺎﻣﺤﻬﻢ ﺷﻌﺮﺍﺅﻧﺎ ﺍﻟﺬﻳﻦ ﺍﺗﺼﻠﻮﺍ ﺑﺎﻟﺘﺮﺍﺙ‪ ..‬ﻓﻬﺎ ﻫﻮ ﺍﻟﺸﺎﻋﺮ ﺍﻟﺮﺍﺣﻞ ﺍﻟﺒﺎﻗﻲ ﻓﻲ ﺍﻟﺬﺍﻛﺮﺓ ﻣﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﻳﺴﺘﺨﺪﻡ ﻓﻲ ﻗﺼﻴﺪﺗﻪ »ﺣﺠ ﹲﺮ‬
‫ﻛﻨﻌﺎﻧﻲ ﻓﻲ ﺍﻟﺒﺤﺮ ﺍﳌﻴﺖ« ﺃﺳﻄﻮﺭﺓ ﺁﻧﺎﻥ‪ ،‬ﻭﺁﻧﺎﻥ ﻫﻲ ﺍﻣﺮﺃﺓ ﺃﺳﻄﻮﺭﻳﺔ »ﺃﻡ ﺍﻟﻜﻨﻌﺎﻧﻴﲔ«‪ ،‬ﻭﻫﺬﻩ ﺍﻷﺳﻄﻮﺭﺓ ﺗﺘﺼﻞ ﺑﺎﻟﻌﻤﻖ ﺍﻟﻔﻠﺴﻄﻴﻨﻲ‪ ،‬ﻓﺂﻧﺎﻥ ﻓﻲ ﺍﻷﺳﻄﻮﺭﺓ‬ ‫ﹲ‬
‫ﺗﻨﻀﺢ ﻣﺎﺀ ﺍﻟﺴﻤﺎﺀ ﻟﺘﺤﻴﻲ ﺑﻪ ﺍﻷﺭﺽ‪ ،‬ﻭﻫﻞ ﻳﻮﺟﺪ ﺃﺭﻭﻉ ﻣﻦ ﻫﺬﺍ ﺍﻻﺗﺼﺎﻝ ﺑﺎﻟﺘﺮﺍﺙ؟ ﻓﻤﺤﻤﻮﺩ ﺩﺭﻭﻳﺶ ﻳﻘﺪﻡ ﻫﻨﺎ ﺃﺭﻭﻉ ﺍﻟﺼﻮﺭ ﻟﻠﻤﺮﺃﺓ ﺍﻟﻔﻠﺴﻄﻴﻨﻴﺔ ﺍﳌﻀﺤﻴﺔ‬
‫ﺍﻟﺼﺎﺑﺮﺓ ﺍﻟﺘﻲ ﺗﺒﻌﺚ ﺍﳊﻴﺎﺓ ﻣﻦ ﺧﻼﻝ ﻭﻗﻮﻓﻬﺎ ﺇﻟﻰ ﺟﺎﻧﺐ ﺍﳌﻘﺎﻭﻡ ﺍﻟﻔﻠﺴﻄﻴﻨﻲ‪.‬‬
‫ﺃﻣﺎ ﻓﻲ ﺷﻌﺮ ﻋﺰ ﺍﻟﺪﻳﻦ ﺍﳌﻨﺎﺻﺮﺓ ﻓﻘﺪ ﺍﺭﺗﻔﻊ ﻗﺪﺭ »ﺟﻔﺮﺍ« ﺣﺘﻰ ﺃﺻﺒﺤﺖ ﺃﺳﻄﻮﺭﺓ ﻳﹸﻜﻦ ﻟﻬﺎ ﺍﻟﻔﻠﺴﻄﻴﻨﻴﻮﻥ ﻛﻞ ﺍﻟﺘﻘﺪﻳﺮ ﻭﺍﻻﺣﺘﺮﺍﻡ‪ ،‬ﻓﻘﺪ ﺗﻌﺪﺩﺕ ﺩﻻﻻﺗﻬﺎ‬
‫ﹶ‬
‫ﺍﳌﻨﺪﻳﻞ ﻭﻏﻄﻴﻨﻲ ﻷﻧﺎ ﹾﻡ‪..‬‬ ‫ﻫﺎﺕ‬
‫ﻛﻨﺠﻢ ﻣﻬﺰﻭﻡ‪ ..‬ﹺ‬
‫ﹴ‬ ‫ﻭﻗﻔﺖ‬
‫ﹸ‬ ‫ﻓﻲ ﺷﻌﺮﻩ‪ ،‬ﻓﺘﺎﺭﺓ ﺗﻜﻮﻥ ﺍﻟﻔﺘﺎﺓ ﺍﶈﺒﻮﺑﺔ ﻭﺗﺎﺭﺓ ﺗﻜﻮﻥ ﺍﻟﻮﻃﻦ ﻭﺍﻟﺜﻮﺭﺓ ﻓﻬﻮ ﻳﻘﻮﻝ‪ :‬ﺟﻔﺮﺍ‪ ..‬ﻫﺮﺑﻮﺍ ﺣﲔ‬
‫ﻟﺬﺍ ﻋﻠﻴﻨﺎ ﺃﻥ ﻧﺘﻮﻗﻒ ﻟﻠﺤﻈﺔ ﻭﻧﺴﺄﻝ ﺃﻧﻔﺴﻨﺎ ﻋﻦ ﻭﺍﺟﺒﻨﺎ ﲡﺎﻩ ﺗﺮﺍﺛﻨﺎ ﻭﺃﻳﻦ ﻧﺤﻦ ﻣﻨﻪ ﻭﺃﻳﻦ ﺃﻃﻔﺎﻟﻨﺎ ﻣﻦ ﻗﺼﺼﻨﺎ ﺍﻟﺸﻌﺒﻴﺔ ﺍﻟﺘﻲ ﲡﺴﺪ ﺗﺮﺍﺛﻨﺎ ﻟﻨﻌﺮﻑ ﻣﻦ‬
‫ﺃﻳﻦ ﻧﺒﺪﺃ ﻟﻨﻌﺮﻑ ﺇﻟﻰ ﺃﻳﻦ ﻧﻌﻮﺩ‪.‬‬
‫ﺑﺸﺮﻯ ﺍﻷﻃﺮﺵ ‪ /‬ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ »ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ«‬

‫‪18‬‬
 ‫ﻣﻘﺘﻄﻔﺎت ﻣﻦ ﺑﺴﺘﺎن ﺣﻴﺎﺗﻲ‬

‫ﺩﻳﺎﻧﺎ ﺍﻟﺴﻮﻳﻄﻲ‪ ،‬ﻣﺸﺎﺭﻛﺔ ﻓﻲ ﺑﺮﻧﺎﻣﺞ »ﻧﻌﻢ ﻟﻠﺸﺒﺎﺏ«‬

‫ﻟﻜﻞ ﺩﻣﻌﺔ ﻧﻬﺎﻳﺔ‪ ،‬ﻭﻧﻬﺎﻳﺔ ﻛﻞ ﺩﻣﻌﺔ ﺑﺴﻤﺔ‪ ..‬ﻭﻟﻜﻞ ﺑﺴﻤﺔ ﻧﻬﺎﻳﺔ‪ ،‬ﻭﻧﻬﺎﻳﺔ ﻛﻞ ﺑﺴﻤﺔ ﺩﻣﻌﺔ ‪...‬‬ ‫•‬
‫ﻭﺭﺩﺓ ﻭﺍﺣﺪﺓ ﻹﻧﺴﺎﻥ ﻋﻠﻰ ﻗﻴﺪ ﺍﳊﻴﺎﺓ‪ ،‬ﺃﻓﻀﻞ ﻟﻪ ﻣﻦ ﺑﺎﻗﺔ ﻛﺎﻣﻠﺔ ﻋﻠﻰ ﻗﺒﺮﻩ ‪...‬‬ ‫•‬
‫ﹰ‬
‫ﻻ ﲢﺎﻭﻝ ﺃﻥ ﲡﻌﻞ ﻣﻼﺑﺴﻚ ﺃﻏﻠﻰ ﻷﻧﻬﺎ ﺳﺘﺤﻴﻞ ﺣﺎﺿﺮﻙ ﺟﺤﻴﻤﺎ ﻭﻣﺴﺘﻘﺒﻠﻚ ﺣﻄﺎﻣﺎ‪ ..‬ﻳﻜﻔﻴﻚ ﻣﻨﻬﺎ ﻭﻗﻔﺔ ﺍﻋﺘﺒﺎﺭﹴ ﺗﻌﻄﻴﻚ ﺩﻓﻌﺔ ﺟﺪﻳﺪﺓ ﻓﻲ‬ ‫•‬
‫ﻃﺮﻳﻖ ﺍﳊﻖ ﻭﺍﻟﺼﻮﺍﺏ‪..‬‬
‫ﹰ‬
‫ﻭﻃﺐ ﻧﻔﺴﺎ ﺇﺫﺍ ﺣﻜﻢ ﺍﻟﻘﻀﺎ ﹸﺀ‬ ‫ﹺ‬ ‫ﺩﻉ ﺍﻷﻳﺎﻡ ﺗﻔﻌﻞ ﻣﺎ ﺗﺸــﺎ ﹸﺀ‬ ‫•‬
‫ﳊـﻮﺍﺩﺙ ﺍﻟﺪﻧﻴـــﺎ ﺑﻘــﺎ ﹸﺀ‬
‫ﹺ‬ ‫ﻓﻤـﺎ‬ ‫ﻭﻻ ﲡﺰﻉ ﳊﺎﺩﺛﺔ ﺍﻟﻠﻴﺎﻟﻲ‬ ‫•‬
‫ﻻ ﺗﺘﺨﻴﻞ ﻛﻞ ﺍﻟﻨﺎﺱ ﻣﻼﺋﻜﺔ ﻓﺘﻨﻬﺎﺭ ﺃﺣﻼﻣﻚ‪ ..‬ﻭﻻ ﲡﻌﻞ ﺛﻘﺘﻚ ﺑﻬﻢ ﻋﻤﻴﺎﺀ‪ ،‬ﻷﻧﻚ ﺳﺘﺒﻜﻲ ﻳﻮﻣﺎ ﻋﻠﻰ ﺳﺬﺍﺟﺘﻚ‪ ،‬ﻭﻟﺘﻜﻦ ﻓﻴﻚ ﻃﺒﻴﻌﺔ ﺍﳌﺎﺀ ﺍﻟﺬﻱ‬ ‫•‬
‫ﻳﻨﺴﺎﺏ ﻗﻄﺮ ﹰﺓ ﻗﻄﺮﺓ ‪...‬‬ ‫ﹸ‬ ‫ﻳﺤﻄﻢ ﺍﻟﺼﺨﺮ ﺑﻴﻨﻤﺎ‬
‫ﺍﻟﺪﻧﻴﺎ ﻛﻤﺎﺀ ﺍﻟﺒﺤﺮ‪ ..‬ﻛﻠﻤﺎ ﺍﺯﺩﺩﺕ ﻣﻨ ﹸﻪ ﺷﺮﺑﺎﹰ‪ ،‬ﻛﻠﻤﺎ ﺍﺯﺩﺩﺕ ﻋﻄﺸﺎ ﹰ ‪...‬‬ ‫•‬
‫ﻣﻦ ﻋﺎﺵ ﺑﻮﺟﻬﲔ ﻣﺎﺕ ﻻ ﻭﺟﻪ ﻟ ﹸﻪ ‪...‬‬ ‫•‬
‫ﻻ ﲡﺎﺩﻝ ﺍﻷﺣﻤﻖ ﻓﻘﺪ ﻳﺨﻄﺊ ﺍﻟﻨﺎﺱ ﻓﻲ ﺍﻟﺘﻔﺮﻳﻖ ﺑﻴﻨﻜﻤﺎ ‪...‬‬ ‫•‬
‫ﻣﻦ ﺟﺎﺭ ﻋﻠﻰ ﺻﺒﺎﻩ ﺟﺎﺭﺕ ﻋﻠﻴﻪ ﺷﻴﺨﻮﺧﺘﻪ ‪...‬‬ ‫•‬
‫ﺍﳌﺎﻝ ﺧﺎﺩﻡ ﺟﻴﺪ‪ ،‬ﻟﻜﻨﻪ ﺳﻴ ﹲﺪ ﻓﺎﺳﺪ ‪...‬‬ ‫•‬
‫ﺍﻟﻜﻼﻡ ﻛﺎﻟﺪﻭﺍﺀ‪ ،‬ﺇﻥ ﻗﻠﻠﺖ ﻣﻨﻪ ﻧﻔﻊ ﻭﺇﻥ ﺃﻛﺜﺮﺕ ﻣﻨﻪ ﻗﺘﻞ ‪...‬‬ ‫•‬

‫‪19‬‬
 ‫اﻟﻤﻮﺳﻴﻘﻰ واﻟﻤﺴﺮح‬
‫‪.‬ﺗﻨﻘﺴﻢ ﺍﳌﻮﺳﻴﻘﻰ ﻓﻲ ﺍﳌﺴﺮﺡ ﻟﺜﻼﺛﺔ ﺃﻗﺴﺎﻡ ﻫﻲ‪-:‬‬
‫ﺍﻟﺘﺄﻟﻴﻒ ﺍﳌﻮﺳﻴﻘﻰ ‪ -‬ﺍﻹﻋﺪﺍﺩ ﺍﳌﻮﺳﻴﻘﻰ ‪ -‬ﺍﻟﺘﻨﻔﻴﺬ ﺍﳌﻮﺳﻴﻘﻰ‪...‬‬
‫ﺃﻣﺎ ﺑﺎﻟﻨﺴﺒﻪ ﻟﻠﺼﻮﺕ ﻓﻬﻮ ﻛﻴﻔﻴﺔ ﺃﺳﺘﺨﺪﺍﻡ ﻣﻴﻜﺴﺮ ﺍﻟﺼﻮﺕ ﺃﻭ ﺍﻝ ‪ Sound Mixer‬ﻭ ﻣﺮﺍﻗﺒﺔ ﺍﻟﻘﻨﻮﺍﺕ ﺍﳌﺴﺘﺨﺪﻣﻪ ﻣﻦ ﺳﻤﺎﻋﺎﺕ ﺃﺳﺎﺳﻴﻪ ﺃﻭ ﻣﻔﺎﺗﻴﺢ‬
‫ﺍﻟﺴﻤﺎﻋﺎﺕ ‪ Master‬ﺃﻭ ﻣﻴﻜﺮﻭﻓﻮﻧﺎﺕ ﻋﺎﺩﻳﻪ ﺃﻭ ﺍﻷﺻﻮﺍﺕ ﺍﻟﺼﺎﺩﺭﻩ ﻣﻦ ﺍﳉﻬﺎﺯ ﺍﳌﺴﺘﺨﺪﻡ ﻓﻰ ﺍﻟﺘﻨﻔﻴﺬ ﺍﳌﻮﺳﻴﻘﻰ ﺳﻮﺍﺀ ﻛﺎﻥ ﻛﻮﻣﺒﻴﻮﺗﺮ ﻋﺎﺩﻯ ﺃﻭ ﻻﺏ ﺗﻮﺏ‬
‫ﺃﻭ ﺩﻳﺴﻜﻤﺎﻥ‪ ...‬ﺇﻟﺦ‬

‫ﺃﻭﻻﹰ‪ :‬ﺍﻟﺘﺄﻟﻴﻒ ﺍﳌﻮﺳﻴﻘﻰ‪ :‬ﻫﻮ ﻋﺒﺎﺭﻩ ﻋﻦ ﺗﺄﻟﻴﻒ ﻭ ﺇﺑﺘﻜﺎﺭ ﳊﻦ ﻣﻮﺳﻴﻘﻰ ﻃﺒﻘﺎ ﹰ ﳉﻮ ﺍﻟﻌﻤﻞ ﺍﳌﺴﺮﺣﻰ‪ ,‬ﻓﻴﻤﺮ ﲟﺮﺣﻠﺔ ﺗﻠﺤﲔ ﺛﻢ ﺗﻮﺯﻳﻊ ﻭ ﺗﺴﺠﻴﻞ ﻭ ﻏﺎﻟﺒﺎ ﹰ‬
‫ﺗﻜﻮﻥ ﻣﻜﻠﻔﻪ ﺑﺴﺒﺐ ﺷﺮﺍﺀ ﺃﻭ ﺗﺄﺟﻴﺮ ﺁﻻﺕ ﻣﻮﺳﻴﻘﻴﻪ ﻣﻌﻴﻨﻪ ﺇﻟﻰ ﺟﺎﻧﺐ ﺗﻜﻠﻔﺔ ﺍﻟﺘﺴﺠﻴﻞ ﺑﺎﻟﺴﺘﺪﻳﻮﻫﺎﺕ‪.‬‬

‫ﺛﺎﻧﻴﺎﹰ‪ :‬ﺍﻹﻋﺪﺍﺩ ﺍﳌﻮﺳﻴﻘﻰ‪ :‬ﻭ ﻫﻮ ﺍﻟﺸﺎﺋﻊ ﺑﲔ ﺍﳌﺴﺎﺭﺡ ﺍ‪‬ﺘﻠﻔﻪ‪ ,‬ﺣﻴﺚ ﻳﻘﻮﻡ ﺍﳌﻌﺪ ﺍﳌﻮﺳﻴﻘﻰ ﺑﺎﻟﺒﺤﺚ ﻋﻦ ﺍﳌﻘﻄﻮﻋﺎﺕ ﺍﳌﻮﺳﻴﻘﻴﻪ ﺍﳌﻨﺎﺳﺒﻪ ﳉﻮ ﺍﻟﻌﻤﻞ‬
‫ﺑﺈﺗﻘﺎﻥ ﻧﻈﺮﺍ ﹰ ﻟﻠﺪﻭﺭ ﺍﳌﻬﻢ ﺍﻟﺬﻯ ﺗﻠﻌﺒﻪ ﺍﳌﻮﺳﻴﻘﻰ ﺑﺎﳌﺴﺮﺡ‪ ,‬ﻓﻬﻰ ﲟﺜﺎﺑﺔ ﺳﻮﺭ ﻳﺴﺘﻨﺪ ﻋﻠﻴﻪ ﺍﳌﻤﺜﻞ ﻛﻰ ﻳﺼﻞ ﻷﺭﻗﻰ ﺗﻌﺒﻴﺮ ﻧﻔﺴﻰ ﻋﻦ ﺍﳊﺎﻟﻪ‪ .‬ﻃﺒﻌﺎ ﹰ ﺍﻟﻜﻼﻡ‬
‫ﺷﻜﻠﻪ ﻣﻌﻘﺪ ﺷﻮﻳﻪ ﻭ ﻟﻜﻦ ﺃﻗﺼﺪ ﺑﻜﻼﻣﻰ ﺃﻥ ﻻﺯﻡ ﺍﳌﻌﺪ ﺍﳌﻮﺳﻴﻘﻰ ﻳﺎﺧﺪ ﺑﺎﻟﻪ ﻣﻦ ﺣﺎﺟﺎﺕ ﻛﺘﻴﺮ ﺑﺸﻜﻞ ﻋﺎﻡ ﻭ ﻟﻴﺲ ﻓﻘﻂ ﺃﺛﻨﺎﺀ ﺍﻟﻌﻤﻞ ﻋﻠﻰ ﻣﺴﺮﺣﻴﻪ‪,‬‬
‫ﻋﻠﻰ ﺳﺒﻴﻞ ﺍﳌﺜﺎﻝ‪...‬ﺃﻥ ﻳﻜﻮﻥ ﻣﺴﺘﻤﻊ ﺷﺎﻣﻞ ﲟﻌﻨﻰ ﺃﻧﻪ ﻳﺴﺘﻤﻊ ﻟﻜﻞ ﺃﻧﻮﺍﻉ ﺍﳌﻮﺳﻴﻘﻰ ﻭ ﻋﻠﻰ ﺩﺭﺍﻳﻪ ﺑﻬﺎ‪ .‬ﻣﺮﺍﻗﺒﺔ ﺃﻧﻮﺍﻉ ﺍﳌﻮﺳﻴﻘﻰ ﺍﳌﺴﺘﺨﺪﻣﻪ ﻭ ﺍﻟﺘﺄﻛﺪ‬
‫ﻣﻦ ﻣﻼﺋﻤﺘﻬﺎ ﻟﻠﺠﻮ ﺍﳌﺴﺮﺣﻲ ﻭ ﻇﺮﻭﻑ ﺍﻟﻌﻤﻞ *ﺣﺘﻰ ﻟﻮ ﻛﺎﻧﺖ ﺑﻨﻔﺲ ﺟﻮ ﺍﻟﻌﻤﻞ ﻭ ﻟﻨﻔﺘﺮﺽ ﺃﻧﻪ ﺣﺰﻳﻦ* ﳌﺸﻬﺪ ﻋﻦ ﻋﺎﺋﻠﻪ ﺭﻳﻔﻴﻪ ﺇﻻ ﺇﺫﺍ ﻛﺎﻥ ﺍﻟﻌﺮﺽ‬
‫ﻳﺘﻄﻠﺐ ﺗﻠﻚ ﺍﻟﻔﺎﻧﺘﺎﺯﻳﺎ‪ .‬ﻣﻌﺎﳉﺔ ﺍﻟﺼﻮﺕ ﺇﺫﺍ ﻛﺎﻥ ﻳﺘﻄﻠﺐ ﺫﻟﻚ ﺃﻭ ﻟﻮﺟﻮﺩ ﺃﻯ ﺧﻠﻞ ﺃﻭ ﺷﻮﺍﺋﺐ ﻓﻰ ﺍﻟﺼﻮﺕ ﺑﺄﺳﺘﺨﺪﺍﻡ ﺑﺮﺍﻣﺞ ﻣﻌﻴﻨﻪ‪ .‬ﺍﻟﺘﺄﻛﺪ ﻣﻦ ﺑﺪﺍﻳﺔ‬
‫ﺍﻝ“ﺗﺮﺍﻙ“ ﺃﻭ ﺍﳌﻘﻄﻊ ﻓﻰ ﻭﻗﺖ ﻣﻨﺎﺳﺐ ﺣﻴﺚ ﻻ ﻳﻜﻮﻥ ﻫﻨﺎﻙ ﺻﻤﺖ ﻓﻰ ﺑﺪﺍﻳﺔ ﺍﳌﻘﻄﻊ ﳌﺪﻩ ﻃﻮﻳﻠﻪ ﻭ ﺇﺫﺍ ﻭﺟﺪ ﻫﺬﺍ ﺍﻟﺘﺄﺧﻴﺮ ﺃﻭ ﺍﻟﺼﻤﺖ ﻓﻰ ﺑﺪﺍﻳﺔ ﺍﳌﻘﻄﻮﻋﻪ‬
‫ﻳﺘﻢ ﻗﺺ ﻫﺬﺍ ﺍﻟﻔﺮﺍﻍ ﻣﻨﻬﺎ ﺑﻮﺍﺳﻄﺔ ﺍﻟﺒﺮﺍﻣﺞ ﺍﻟﺼﻮﺗﻴﻪ‪ .‬ﺍﳊﺮﺹ ﻋﻠﻰ ﻧﻘﺎﻭﺓ ﺍﻟﺼﻮﺕ ﻭ ﻋﺪﻡ ﻭﺟﻮﺩ ﺿﻮﺿﺎﺀ ﺃﻭ ﺃﺻﻮﺍﺕ ﺃﻋﻠﻰ ﻣﻦ ﺍﳌﻄﻠﻮﺏ ﻭ ﻳﺴﺎﻋﺪ ﻋﻠﻰ‬
‫ﺫﻟﻚ ﺍﳌﺆﺷﺮ ﺍﻟﺼﻮﺗﻰ ﺃﻭ ﺍﻝ‪ Equalizer‬ﺍﳌﻮﺟﻮﺩ ﺑﻜﻞ ﺍﻟﺒﺮﺍﻣﺞ ﻭ ﺍﻷﺟﻬﺰﻩ ﺍﻟﺼﻮﺗﻴﻪ ﻟﻠﺘﺄﻛﺪ ﻣﻦ ﻋﺪﻡ ﺯﻳﺎﺩﺓ ﻣﺴﺘﻮﻯ ﺍﻟﺼﻮﺕ ﻋﻦ ﺍﳊﺪ ﺍﳌﻄﻠﻮﺏ‪ .‬ﻣﻦ ﺍﳌﻬﻢ ﺟﺪﺍ ﹰ‬
‫ﺃﻥ ﻧﺘﺄﻛﺪ ﻣﻦ ﺍﻹﻣﺘﺪﺍﺩﺍﺕ‪ ,‬ﲟﻌﻨﻰ ﺃﻥ ﺗﻜﻮﻥ ﻛﻞ ﺍﳌﻘﺎﻃﻊ ﺍﳌﺴﺘﺨﺪﻣﻪ ﻋﻠﻰ ﳕﻂ ﻭﺍﺣﺪ ﻣﺜﻞ ﺍﻝ‪ ...mp3-rm-wmv-wav‬ﺇﻟﺦ‪ .‬ﺿﺮﻭﺭﺓ ﺿﺒﻂ ﺃﻭ ﺗﺰﻭﻳﺪ ﺍﳌﺆﺛﺮﺍﺕ‬
‫ﺍﻟﺼﻮﺗﻴﻪ ﺇﺫﺍ ﻛﺎﻧﺖ ﻣﻄﻠﻮﺑﻪ ﻋﻠﻰ ﺍﳌﻘﺎﻃﻊ ﻓﻠﺒﺮﻣﺎ ﻳﺘﻄﻠﺐ ﺍﻟﻌﺮﺽ ﺃﺻﻮﺍﺕ ﻣﻌﻴﻨﻪ ﻣﺼﺎﺣﺒﻪ ﻟﻠﻤﻮﺳﻴﻘﻰ ﻓﻼ ﻣﺠﺎﻝ ﻟﻮﺿﻊ ﻛﻞ ﻣﻦ ﺍﳌﻮﺳﻴﻘﻰ ﻭ ﺍﳌﺆﺛﺮﺍﺕ‬
‫ﺍﻟﺼﻮﺗﻴﻪ ﻣﻨﻔﺼﻠﲔ ﻓﻴﺘﻢ ﺍﻟﺘﺮﻛﻴﺐ ﺃﻳﻀﺎ ﹰ ﺑﻮﺍﺳﻄﺔ ﺑﺮﺍﻣﺞ ﺻﻮﺗﻴﻪ ﻣﻌﻴﻨﻪ‪.‬‬
‫ﺛﺎﻟﺜﺎ ﹰ‪ :‬ﺍﻟﺘﻨﻔﻴﺬ ﺍﳌﻮﺳﻴﻘﻰ ﻫﻮ ﺇﺩﺧﺎﻝ ﺍﳌﻘﺎﻃﻊ ﺍﳌﻮﺳﻴﻘﻴﻪ ﻋﻠﻰ ﺍﻟﻌﺮﺽ ﻓﻰ ﺍﻟﺘﻮﻗﻴﺖ ﺍﳌﻄﻠﻮﺏ ﻭ ﺍﳌﻌﺪ ﻟﻬﺎ‪ ,‬ﻓﻴﻘﻊ ﻋﻠﻰ ﻋﺎﺗﻖ ﻣﺴﺆﻭﻝ ﺍﻟﺘﻘﻨﻴﺎﺕ ﺑﻌﺾ‬
‫ﺍﳌﻬﺎﻡ ﻣﺜﻞ‪ 1-...‬ﺍﻹﺣﺘﻔﺎﻅ ﺑﺄﻛﺜﺮ ﻣﻦ ﻧﺴﺨﻪ ﻣﻦ ﺍﳌﻘﺎﻃﻊ ﺍﳌﺴﺘﺨﺪﻣﻪ ﻋﻠﻰ ‪ CD‬ﺃﻭ ‪ Flash Memory‬ﺃﻭ ﺃﻯ ﻭﺳﻴﻠﻪ ﺃﺧﺮﻯ ﻓﻘﻂ ﻟﻠﺘﺄﻛﺪ ﻣﻦ ﻋﺪﻡ ﻓﻘﺪ‬
‫ﺍﻟﻨﺴﺦ ﺍﻷﺻﻠﻴﻪ‪ 2-.‬ﺿﺮﻭﺭﺓ ﺗﺮﻗﻴﻢ ﺍﻟﺘﺮﺍﻛﺎﺕ ﺃﻭ ﺍﳌﻘﺎﻃﻊ ﻃﺒﻘﺎ ﹰ ﻟﺘﺮﺗﻴﺐ ﺩﺧﻮﻟﻬﺎ ﻓﻰ ﺍﻟﻌﻤﻞ ﺣﺘﻰ ﻭ ﺃﻥ ﻛﺎﻧﺖ ﻣﻜﺮﺭﻩ ﻓﻴﻘﻮﻡ ﺑﻨﺴﺨﻬﺎ ﺃﻛﺜﺮ ﻣﻦ ﻣﺮﻩ ﻋﻠﻰ‬
‫ﻋﺪﺩ ﺍﳌﺮﺍﺕ ﺍﳌﻄﻠﻮﺑﻪ ﻓﻼ ﻳﻀﻄﺮ ﻟﻠﻌﻮﺩﻩ ﺇﻟﻰ ﺗﺸﻐﻴﻞ ﻣﻘﻄﻮﻋﻪ ﺳﺎﺑﻘﻪ ﻭ ﺫﻟﻚ ﲡﻨﺒﺎ ﹰ ﻟﻺﺭﺗﺒﺎﻙ ﺃﻭ ﻓﻘﺪ ﺍﻟﺘﺮﻛﻴﺰ‪ 3-.‬ﺍﻹﺗﻔﺎﻕ ﻋﻠﻰ ﺇﺷﺎﺭﺓ ﺩﺧﻮﻝ ﺃﻭ ‪Q‬ﻟﻠﻤﻘﺎﻃﻊ‬
‫ﺍﳌﻮﺳﻴﻘﻰ ﻓﻴﻜﻮﻥ ﺃﺩﺍﺀ ﺍﳌﻤﺜﻞ ﺃﻭ ﺍﳊﺪﺙ ﻋﻠﻰ ﺧﺸﺒﺔ ﺍﳌﺴﺮﺡ ﻫﻮ ﺍﻹﺷﺎﺭﻩ ﺃﻭ ﻋﻜﺲ ﺫﻟﻚ ﻓﻴﻜﻮﻥ ﺍﻟﺼﻮﺕ ﺃﻭ ﺍﳌﻮﺳﻴﻘﻰ ﻫﻰ ﺇﺷﺎﺭﻩ ﻟﻠﻤﻤﺜﻠﲔ ﻭ ﻳﻨﺒﻐﻰ‬
‫ﺍﻹﻫﺘﻤﺎﻡ ﺑﻬﺬﺍ ﺍﻟﺸﺮﻁ ﻷﻧﻪ ﻏﺎﻟﺒﺎ ﹰ ﻻ ﻳﺄﺧﺬ ﺍﳌﻤﺜﻞ ﺍﻹﺷﺎﺭﻩ ﻣﻦ ﺍﳌﻮﺳﻴﻘﻰ ﻓﻘﺪ ﻳﺤﺪﺙ ﺃﻥ ﺗﺘﺄﺧﺮ ﺍﻹﺷﺎﺭﻩ ﻋﻦ ﻣﻮﻋﺪﻫﺎ ﺃﻭ ﻳﺤﺪﺙ ﻋﻄﻞ ﻓﻨﻰ ﻓﻨﻀﻄﺮ‬
‫ﻟﻺﺳﺘﻐﻨﺎﺀ ﻋﻨﻬﺎ ‪,‬ﻭ ﻫﺬﺍ ﻭﺍﺭﺩ‪ 4-.‬ﻣﺮﺍﻗﺒﺔ ﻣﺪﻯ ﺗﻮﺍﻓﻖ ﺩﺧﻮﻝ ﺍﳌﻮﺳﻴﻘﻰ ﻣﻊ ﺍﻝ ‪ ,Q‬ﺍﻭ ﻻ ﺗﻜﻮﻥ ﻣﺘﺴﺮﻋﻪ ﻭﻻ ﻣﺘﺄﺧﺮﻩ ﻧﻈﺮﺍ ﹰ ﳌﺎ ﻗﺪ ﻳﺴﺒﺒﻪ ﺫﻟﻚ ﻣﻦ ﺧﺮﻭﺝ ﻋﻦ‬
‫ﺍﳊﺎﻟﻪ ﻭ ﺇﺯﻋﺎﺝ ﺍﳌﺸﺎﻫﺪ ﻭ ﺍﳌﻤﺜﻞ‪ ,‬ﻭ ﺃﻧﺎ ﺷﺨﺼﻴﺎ ﹰ ﺃﻧﺼﺢ ﺑﻌﺪﻡ ﺗﺸﻐﻴﻞ ﺍﳌﻘﻄﻊ ﺇﺫﺍ ﺗﺨﻠﻒ ﻋﻦ ﻣﻌﺎﺩﻩ ﺑﻮﻗﺖ ﻣﻠﺤﻮﻅ ﻓﻴﻜﻮﻥ ﺍﻷﻧﺴﺐ ﺃﻥ ﻳﺆﺩﻯ ﺍﳌﺸﻬﺪ‬
‫ﺑﺪﻭﻥ ﻣﻮﺳﻴﻘﻰ ﻓﻴﻜﻮﻥ ﺫﻭ ﻣﻌﻨﻰ ﻋﻠﻰ ﺃﻥ ﺗﺪﺧﻞ ﺍﳌﻮﺳﻴﻘﻰ ﻓﻰ ﻏﻴﺮ ﻭﻗﺘﻬﺎ ﻓﺘﺰﻋﺞ ﺍﳌﺸﺎﻫﺪ ﻭ ﺍﳌﻤﺜﻞ‪ 5-.‬ﻳﻜﻮﻥ ﺍﻟﺘﺪﺭﺝ ﺳﻮﺍﺀ ﺻﻌﻮﺩﺍ ﹰ ﺃﻭ ﻫﺒﻮﻃﺎ ﹰ ﻣﻦ ﻣﻬﺎﻡ‬
‫ﺍﳌﺴﺆﻭﻝ ﺍﻟﺘﻘﻨﻲ‪ ,‬ﲟﻌﻨﻰ ﺃﺳﺘﺨﺪﺍﻡ ﺍﻝ ‪ Fade in‬ﺃﻭ ﺍﻝ ‪ ,Fade out‬ﺿﺮﻭﺭﺓ ﺍﻟﺘﺪﺭﺏ ﺑﻜﺜﺮﻩ ﻋﻠﻰ ﺍﻟﺘﻨﻔﻴﺬ ﻭ ﺍﻟﺘﻤﻜﻦ ﻣﻦ ﺣﻔﻆ ﺍﻷﺣﺪﺍﺙ ﺑﺸﻜﻞ ﻛﺎﻓﻰ ﻳﺠﻌﻞ‬
‫ﺍﻟﺘﻘﻨﻲ ﻋﻠﻰ ﺇﺣﺴﺎﺱ ﻋﺎﻟﻰ ﺑﺘﻮﻗﻴﺖ ﻛﻞ ﻣﺸﻬﺪ ﻭ ﺍﳌﻘﻄﻊ ﺍﳌﻨﺎﺳﺐ ﻟﻪ‪ ,‬ﺃﻳﻀﺎ ﹰ ﺍﻟﺘﻤﺘﻊ ﺑﺈﺣﺴﺎﺱ ﻋﺎﻟﻰ ﺑﺎﻟﺰﻣﻦ ﻭ ﺳﺮﻋﺔ ﺗﻠﺒﻴﺔ ﺃﻣﺮ ﺍﻟﺘﺸﻐﻴﻞ‪.‬‬

‫ﻣﺴﺆﻭﻝ ﺍﻟﺘﻘﻨﻴﺎﺕ‬
‫ﻫﻤﺎﻡ ﻋﻤﺮﻭ‬

‫‪20‬‬