Kadour Naimi (or Kaddour Naïmi; ; born November 4, 1945, in Sidi Bel Abbès, Algeria) is a film producer, playwright, filmmaker, and writer.
Biography Naimi is the son of a shoemaker father and a housewife mother. He graduated from a double high school course in French and Arabic. After graduation, he attended the University of Oran from 1965 to 1966, where he earned a double certificate of general literary studies in French and Arabic. From 1966 to 1968, Naimi attended the , which was then directed by Hubert Gignoux and Pierre Lefèvre, where he studied staging and dramaturgy. Back in Algeria, he became known in the theatrical field.
At the end of 1973, he immigrated to Belgium. From 1974 to 1979, in the Université catholique de Louvain, he obtained a degree in sociology, then, from 1979 to 1982, started a PhD in sociology of revolutions.Synthesis : Self-management and hetero-management : from the breaking revolutionary process to the totalitarian conservatory system, in Invarianti, Antonio Pellicani Editore, Rome, in 3 parts : Year II, n. 7, autumn 1988, n.8 winter 1988–89, Year III, n.9–10, spring–summer 1989, political and cultural quarterly magazine.
Interested in cinema, in 1982 he immigrated to Italy, acquired citizenship, and became involved in films, theater, and literature.
Since October 2016, he has regularly collaborated in newspapers and contributed sociological reviews, including to the French-language newspaper Le Matin d'Algérie.
In September 2018, he created Editions Electrons Libres, which offers free text or audio books, in electronic form in French, Italian, and Algerian Arabic.
Theater
In August 1968 in Oran (Algeria), Naimi created and directed the Théâtre de la mer : Compagnie de recherches et de réalisations théâtrales expérimentales (Theatre of the Sea: Research and Experimental Theatre Productions Company), whose work has been innovative in the context of Algerian culture, fostering independent production, ethical and political freedom,Mohamed Kali, 100 ans de théâtre algérien (One hundred years of Algerian theater),, in particular chapter Kadour Naïmi ou les limites de l'engagement politique au théâtre (Kadour Naimi or the political commitment limits in the theater), pp. 167–184, Algiers (Algeria), Socrates News Editions, 2013. self-management, collective creation,Ali Arra'y (علي الراعي), االمسرح في الوطن العربي (The theatre in the Arab nation), , Koweït, Edition of the National Council for Culture, Arts and Letters, January 1979. And Mohamed Kali : 100 ans de théâtre algérien, o. c. p. 161. research"Original representations, of a totally new design in Algeria. In fact, it is – to my knowledge – the only Algerian company, rejecting the classical forms of theatrical, using the laboratory theater." La République, Noredine Khib, Oran, October 23, 1968, newspaper. and experimentation,Mohamed Kali, Le théâtre algérien, un malentendu (The Algerian theatre, a misunderstanding),, Algiers (Algeria), Edition Ministry of Culture, 2002, pp. 125 e 127. popular theatre,"The rigor of the political purpose does not contradict the antics and hilarious ferocity of the show. The director of the Théâtre de la mer, Kadour Naimi, has been able to make this lament emigrant a "lament" fed theater of humor and pace.It is the true popular theater, a theater that invites to pleasure and deducts its aesthetic from the needs of its struggle. » Politique-Hebdo, Michel Sarti, Paris, March 2, 1972, newspaper. and staging performances in unconventional places (work and study places, or neighborhood squares).Tamara Alexandrovna Boutisiniga, Thousand and one year of Arab theatre, (Russian), translated into Arabic by Tawfik Almou'din, Beyrouth (Lebanon), Edition Dar Alfarabi, first edition 1981, second edition 1990.
The staging of shows was patterned after the traditional Algerian rite of Halqa (), with a central acting space in the round (1 in the drawing), entry and exit aisles for the actors (2), and the rest of the encircling space reserved for spectators(3). The works were presented in rural areas, to farmers who had never seen this kind of show.Algérie-Actualités, Kamal Bendimérad, Algiers, April 1969, weekly. The public was urged to attend rehearsals and voice observations, and to interact during the performance, to be an integral part of the action Ali Arra'y, op. cit.
The theatrical writing is in the form of a screenplay and the performance is cinematic."The opera stage writing, from beginning to end, is a decoupage in purely cinematic plans, using different areas of the stage as its depth, playing with lights and colours to emphasize the view angles, all data in a fast pace and scenes sometimes very short." El Watan, Mohamed Kali, March 30, 2013, newspaper.
The press emphasized the originality of the innovations, and the impact produced on the public, of works such as Mon corps, ta voix et sa pensée (My body, your voice and his thought),La République, Nordine Khib, Oran (Algeria), October 23, 1968, newspaper; Algérie-Actualités, Kamal Bendimérarad, Algiers, April 1969, weekly; El Moudjahid, Halim Mokdad, Algiers, January 11, 1969, newspaper. La Valeur de l'Accord (The value of the Agreement),"Collective Creation, this suite of tableaux – announced by a clapperboard identical to those used on movie sets – is a violent attack against US imperialism. The revolution thus continues on stage and the Theatre of the Sea seems to have opted for the "laboratory" formula. Of course, disputes (ah, what a word !) comes from all directions ... "THE VALUE OF THE AGREEMENT" shakes by its form somewhat habits of the viewer. (...) " N. Khib, La République, 5 avril 1969, newspaper. La Fourmi et l'Éléphant (The Ant and the Elephant),"The Ant and the Elephant", presented recently at Mouggar by the "Theater of the Sea", has had a certain success. With the large number of spectators during the four performances and the discussions that followed, this work will really left an impression and not least (...). The Sea Theatre must exist in the thousands." Ecchabab, Algiers, unsigned article, February 7, 1971, weekly. La tendresse, les enfants ! (The Tenderness, guys!). Abderrahmane Kaki expressed appreciation,"Finally we have also in Oran what not seen anywhere in North Africa, an experience a bit to one side, currently done by the members of the 'Jeune Théâtre de la mer'. It has almost to do with the method of the living théâtre, this theater that requires another building, another way of interpretation." La République, Oran (Algeria) 27–28 October 1968, newspaper. as well as essayists and historians."Kadour Naimi is one of the most emblematic theatre men of the years 1960/1970". Mohamed Kali, 100 ans de théâtre algérien, o.c., p. 167. "The Algerian company of 'Théâtre de la mer, founded by Kadour Naimi, is considered an example », Tamara Alexandrovna Boutisiniga, Thousand and one year Arab theatre, op. cit. In 1973, Et à l'aurore où est l'espoir ? (And at dawn where is the Hope ?) received the Research Prize at the International Festival of Hammamet (Tunisia). In 2012, the Algerian Ministry of Culture officially recognized the theatre for its production.
Some of Naimi's theatrical innovations have been influential with others. There are similarities between the theatre of Naimi and that produced by two men of Algerian theatre—Kateb Yacine, a playwright and director, and Abdelkader Alloula—in terms of collective creation,La République, Oran (Algeria), 25 to 26 December 1974, newspaper; Algérie-Actualités, Algiers (Algeria), n ° 707: 3–9 May 1979, weekly. circular space,El Moudjahid, Algiers (Algeria), 13 to 14 October 1989, newspaper. And Djilali Tahraoui, Théâtre expérimental "halka" (Experimental theatre "halka"), Oran (Algeria), University of Science and Technology (Project studies to get an engineering degree in architecture State), 1986–87 academic year. experimentation,Révolution, Algiers (Algeria), 18 May 1990, Weekly. variety of audiences and places of presentations,Algérie-Actualités, Algiers (Algeria), 14 to 20 January 1988, Weekly. And Abdelkader Alloula, La représentation de type aristotélicien dans l'activité théâtrale en Algérie, Oran, 20 October 1987. audience participation,Benkhellaf Abdelmalek, Les fonctions narratives dans le théâtre de Abdelkader Alloula, Alagoual (Les Dires) et Lajouad (Les Généreux), annexe 2 (Magister Memory), Mentouri university : Constantine (Algeria), Faculty of Arts and Languages, 2006. decor and suggestion,Alloula Abdelkader, La représentation de type aristotélicien..., art. c. And interview of Abdelkader Alloula, collected by Mohamed Djellid, Oran, October 1985. body, voice, and mind,Interview by Abdelkader Alloula, collected by Mohamed Djellid, art. c. self-management, research, training,Algérie-Actualité, Algiers (Algeria), 15 to 21 April 1982, Weekly. and the importance of Bertolt Brecht and Erwin Piscator.Algérie-Actualités, Algiers (Algeria), 15 to 21 April 1982, weekly.
Other works: Algeria (Tlemcen): Le Cireur (The shoeshine, 1965) – writing, directing and interpretation. Algeria (Béjaïa) – production of the International Festival of Theatre of Béjaïa: Alhanana, ya ouled ! (The Tenderness, guys!) – writing, choreography and direction. Algeria (Oran and Algiers) – works collectively produced and written in the Théâtre de la Mer (Theater of the Sea), founded and directed by Naimi: Mon corps, ta voix et sa pensée (My body, your voice and his thought, end of 1968), La Valeur de l'Accord (The Value of the Agreement, 1969) Forma – Révolu / tion (Form-Revolu/tion, 1970), La Fourmi et l'Éléphant (The ant and the Elephant, 1971), Mohamed, prends ta valise (Mohamed, take your bag, 1972), written collectively under the direction of Kateb Yacine. Because of disagreements with this author, Naimi resigned from the company. Tunisia (Hammamet): Et à l'aurore, où est l'espoir ? (And at dawn, where is the hope ?, 1973) production, directing and interpretation. France (Strasbourg): foundation of Ensemble théâtral du Tiers-Monde (Theater group of the Third-World, 1967), composed of students; Chant funèbre pour l'ennemi du genre humain (Dirge for the enemy of mankind, 1967) – production, writing, directing and interpretation; L'importance d'être d'accord (The Importance of the Agreement, 1968), by B. Brecht – adaptation, directing and interpretation. Belgium (Bruxelles): Palestine (Palestina, 1974) – production, writing, directing and interpretation. Italy: I Canti di Maldoror (Les Chants de Maldoror, 1984) – adaptation of the book of Lautréamont, production, choreography, and directing; Parto senza bagagli (I go without luggage, 1995), by F. Bagagli e M. Mirojrie;"The staging of the Algerian Kadour Naimi is essential and measured." Michela Sensi, L'Informazione, March 28, 1995, newspaper. "The direction of this work is entrusted to Algerian Director Kadour Naimi, who, for decades, is engaged in artistic research of the essential". Il Giornale di Ostia, March 4, 1995, newspaper. Anno Zero (Year Zero, 1996), – producing, writing, and directing.
Film work In 1986, in Rome, Naimi created the production and distribution company Maldoror Film, and directed it until its closure in September 2009. The company produced the films and documentaries of the filmmaker, excluding his first short film, made in 1981. He was involved in production, writing, shooting, lighting, editing, directing, and the making of theatre posters. Only exceptionally, did he have collaborators or co-producers.