Theatre of Qatar

===Night, Oh, Night===

===Night, Oh, Night===

''Night, Oh, Night'', published in 1984 under its Arabic name, ''Layl, O, Layl'', is regarded as a significant contribution to Qatari theater, often considered the masterpiece of its playwright, Abdulrahman Al-Mannai. Despite its minor linguistic flaws, the play's dialogue and verbal dynamism stand out. Thematically, the work explores historical contexts with dramatic implications, particularly focusing on the conflict between good and evil, framed within the dynamics of power and oppression. Abu Fallah, the authoritative ship owner (''noukadha''), symbolizes injustice and dominance, controlling the destinies of those in his village by restricting travel and economic opportunities, exploiting their labor for personal gain.<ref>Muḥammad ʻAbd al-Raḥīm Qāfūd (2002), p. 30</ref>

''Night, Oh, Night'', published in 1984 under its Arabic name, ''Layl, O, Layl'', is regarded as a significant contribution to Qatari theater, often considered the [[masterpiece]] of its playwright, Abdulrahman Al-Mannai. Despite its minor linguistic flaws, the play's dialogue and verbal dynamism stand out. Thematically, the work explores historical contexts with dramatic implications, focusing on the conflict between good and evil and framed within the dynamics of power and oppression. Abu Fallah, the authoritative ship owner (''noukadha''), symbolizes injustice and dominance, controlling the destinies of those in his village by restricting travel and economic opportunities, exploiting their labor for personal gain.<ref>Muḥammad ʻAbd al-Raḥīm Qāfūd (2002), p. 30</ref>

The play's dialogue reflects the villagers' resignation to Abu Fallah's tyranny, highlighting their sense of helplessness and economic dependence. This is reinforced by Abu Fallah's [[Kidnapping|forceful abduction]] of Farha, the [[Water carrier|waterman]]'s daughter. This action represents the confiscation of freedom and is met with silent acquiescence from the community. The character of Abu Saood, a reforming preacher, challenges Abu Fallah's authority, advocating for resistance against oppression. Another character, Mubarak, has an unprofessed love interest in Farha, and also represents a challenge to Abu Fallah's criminal behavior.<ref>Muḥammad ʻAbd al-Raḥīm Qāfūd (2002), p. 31</ref>

The play's dialogue reflects the villagers' resignation to Abu Fallah's tyranny, highlighting their sense of helplessness and economic dependence. This is reinforced by Abu Fallah's [[Kidnapping|forceful abduction]] of Farha, the [[Water carrier|waterman]]'s daughter. This action represents the confiscation of freedom and is met with silent acquiescence from the community. The character of Abu Saood, a reforming preacher, challenges Abu Fallah's authority, advocating for resistance against oppression. Another character, Mubarak, has an unprofessed love interest in Farha, and also represents a challenge to Abu Fallah's criminal behavior.<ref>Muḥammad ʻAbd al-Raḥīm Qāfūd (2002), p. 31</ref>