Google Cloud Speech-to-Text API (Chirp) + Gemini 2.5 Flash Non-Thinking. Treat it as a searchable index of what was broadcast, not a quotation record.
00:00:00Greek theater and
00:00:06I think in the but began broadcasting Greek theater, as the dates of theater were specified. When we talk about the Moroccan
00:00:11contribute to introducing context, we notice a kind of connection
00:00:15between television.
00:00:17And if we talk about television specifically
00:00:23of theatrical performances on and theater, dates, and you would examples of theatrical the beginning of Moroccan television, the first channel,
00:00:26seat in the theater shows and conducting interviews with or Moroccan TV, as it was called then,
00:00:31the main material it offered to its Moroccan audience
00:00:35and the wider audience outside Morocco
00:00:38was theater
00:00:41through the broadcasting and streaming of many
00:00:44plays live.
00:00:47Of course, my generation
00:00:51was not able to watch the shows
00:00:54in theater through these at that time. Those who watched them from the audience,
00:00:57playwrights, critics,
00:01:01Our meeting with you in this and artists told us how plays were broadcast live
00:01:04on Moroccan TV. And that
00:01:07an important and rare archive of material had its charm,
00:01:11its beauty, and its aesthetic value.
00:01:14Marjan, Marjan, the devil
00:01:17is still
00:01:24works on theatrical here. Okay, now let's leave this aside. I have something
00:01:27else important I want to discuss with you. In addition
00:01:30to that, there
00:01:33understand how to work on was coverage of theatrical performances and theatrical
00:01:36festivals, especially the National Amateur
00:01:40Theater Festival, which was presented and
00:01:43organized every time in a specific city by
00:01:49their shows, the ministry overseeing the Ministry of Youth and Sports. Therefore, it can be said that many
00:01:52pioneers of Moroccan theater were able to establish
00:01:55their relationship with the Moroccan audience by presenting
00:01:58their works to this audience. We recall here
00:02:02Tayeb Saddiki, Abdelkader El Badaoui,
00:02:06in written and
00:02:07it for criminal Abdelhak Zerouali and many other
00:02:14Even in theaters action in playwrights. I believe that there the theatrical movement. at least the geographical area we belong to. is no specific date for the beginning of this relationship between theater and media, but everything
00:02:17humanity remembers, since media was media and since
00:02:21theater became theater, is that this intersection between theater
00:02:25of them, and media has always been
00:02:28an intersection built on logic. Meaning
00:02:30that to be a media person,
00:02:33you must
00:02:35be a theatrical person in one
00:02:39way or another. I will give an example.
00:02:42Meaning that the media is a player.
00:02:46The media plays
00:02:48And fourth, be careful a role. At the theatrical level, I say that it
00:02:52also plays a role, an important role at the level
00:02:54of diagnosis, at the level of presence, at the level of intersection
00:02:58between the sender and the recipient.
00:03:02There is always, I almost say, a representation
00:03:06established
00:03:07on between the maker
00:03:09the wrong So, I think the archive on of the information
00:03:12and the presenter of this information, especially
00:03:15if we reach the modern era regarding
00:03:19journalists who conduct interviews. The journalist who conducts an interview is not
00:03:22the journalist who wakes up from his home and goes to his work.
00:03:26This plays a role because it is a role
00:03:29theater to similar to the role of theater. Media
00:03:32about Moroccan theater began during the
00:03:35French colonization
00:03:39and even in the North during the Spanish
00:03:42and second, I prefer to stay colonization. Its prosperity
00:03:47the audience, and the media are regarding theatrical media
00:03:50was
00:03:53Isn't that a good idea? especially in Tetouan with Khaled Mshibal. I don't
00:03:56remember the newspaper he published,
00:04:00and also
00:04:04We saw his plays with in Fez, where there was a relationship
00:04:06between media
00:04:09and theater. Media has been interested in theater since its
00:04:13inception, as it is a necessity to spread this art
00:04:16and follow its news and developments,
00:04:20like other events that take place in society.
00:04:23It was a given for all theater groups
00:04:27on a sore to turn to newspapers
00:04:28point, to announce the date and place of a performance.
00:04:30in fact, because many Likewise, for newspapers that dedicated
00:04:34pages to theater
00:04:37for promotion, study,
00:04:43Live news broadcast from strongly to promoting and criticism. With the advent of audio
00:04:46and then visual media, the scope of the relationship
00:04:51helpful in promotion, between theater and media
00:04:51outreach, expanded,
00:04:53communication, and news producing programs that focused on theater
00:04:56and its characteristics, inviting its pioneers,
00:05:02directors and writers, to talk about their new
00:05:04works or analyze their creations
00:05:07to communicate with the audience. And audio-visual
00:05:11Touria Jabrane, and prominent media did not stop at theatrical programs,
00:05:15plays on television for audiences to watch
00:05:18at home. So, did media in all its forms
00:05:23theater and playwrights? Of course, it
00:05:26did. To what extent is the question that
00:05:30needs to be asked. Is it enough to
00:05:33allow us to introduce all
00:05:37the names and prominent figures in the theatrical
00:05:41field to all Moroccans and make them known?
00:05:44I don't think so. There's still work to be done in this
00:05:47area. It's not like in other countries,
00:05:51but is there an intention for media
00:05:55to be interested in theater and to give
00:05:58theater a boost? I think yes, there is good intention so that we don't always look
00:06:02at things only from
00:06:04their dark side. On the contrary, I see
00:06:08that all theatrical events, all
00:06:11the shows there is interest from written
00:06:15media
00:06:16and especially
00:06:20audio-visual media. And with
00:06:23the new project of moving theater,
00:06:27of course, the intention, as I said, the intention
00:06:30is there. It remains that the way the media
00:06:36material needs to be structured. These are
00:06:39things that need time, need experience, and especially need
00:06:43people who
00:06:46theatrical matters. Media has tried, ever since
00:06:49it started covering theatrical activities, to cover theatrical
00:06:53activities. It tries to give new theatrical productions. It follows
00:06:57the stages that, for example,
00:07:00the sector undertakes. It conveys them to the people.
00:07:04It tries to convey the movement of playwrights, their tours. It tries through
00:07:07all its means to cover the theatrical action. To what extent
00:07:11is the media successful or unsuccessful? This is a relative matter in my opinion,
00:07:14but I can personally try to ensure
00:07:17that as media professionals, we try as much as possible
00:07:21to follow the theatrical
00:07:25In Morocco, we can say that 1991 was a turning
00:07:28point for Moroccan theater and its relationship with the media, because
00:07:32in that year, there was an informal agreement
00:07:36between Moroccan television and theatrical productions, on the basis that
00:07:39it would deliver promotional theatrical
00:07:42materials and, in return, broadcast the shows on its screen.
00:07:46This was the pivotal point that led
00:07:49to the theatrical movement flourishing in Morocco.
00:07:52We now have the concept of the box office, and we even have the black market in theater,
00:07:56and all this contributed to the success of Moroccan theater, creating a revival
00:08:00and creating stars on theater stages. It truly
00:08:03was a period of peak, if we want to say, for Moroccan theater.
00:08:07Now, the presence of culture, I think, in general
00:08:10and literature.
00:08:32Hayy Theater experience, National Theater
00:08:35Company experience,
00:08:38Arts Theater experience, Eighties Theater
00:08:41at its time, a group of
00:08:44experiences, the Dassoukine and Zaari experience, and so
00:08:47on. The experience of duos, all this was contributed to
00:08:51and sometimes created by television,
00:08:54media and television specifically. However,
00:08:57theater, as a creative process,
00:09:01outside of specialized programs, doesn't get
00:09:04attention because a playwright can come
00:09:07and participate in a discussion panel about
00:09:10society. A playwright can.
00:09:34It can bring it out more, especially the image.
00:09:37Television
00:09:39can bring it out more into the limelight,
00:09:43as an educational and pedagogical act, which is one
00:09:46of the roles of public service, which is television. I am talking
00:09:48about public television. I think yes,
00:09:52media has contributed theater
00:09:55and following the theatrical movement
00:09:59in our country, I think, through two aspects. The first
00:10:02aspect is
00:10:05recording or capturing theatrical
00:10:09performances and showing them to the audience.
00:10:12For example, we are talking about the case of the second channel.
00:10:16We have seen many plays, for example,
00:10:19we have seen works by Tayeb Saddiki,
00:10:23theatrical figures on the second channel. The second aspect,
00:10:26I think, is complementary to these theatrical
00:10:30performances that are shown on television, which is through, for example, reports
00:10:34or coverage of theatrical
00:10:38events, whether theatrical performances or theatrical festivals.
00:10:41For example, in the case of my program, we cover
00:10:44some shows by attending
00:10:48the backstage of these theatrical
00:10:51the technical and artistic team of these plays.
00:10:56Public opinion
00:10:58was that we should let the Moroccan
00:11:02public follow this movement
00:11:06that Moroccan theater is experiencing and introduce
00:11:09different theatrical experiences. So, I think the role
00:11:13of media is to follow this movement
00:11:19two aspects. Good
00:11:22evening, dear viewers.
00:11:26episode of your program "Anfas Masrahiya" is renewed,
00:11:29which we hope will please you. As usual, media has served
00:11:33theater greatly. There is now specialized
00:11:36journalism that follows theatrical
00:11:38productions, newspapers, radio
00:11:42and television programs that brought this art
00:11:45and its pioneers closer to their audience. We must
00:11:49not forget the role of television in filming
00:11:52entire theatrical performances and broadcasting them in a theatrical
00:11:56television evening, bringing the show closer to the audience,
00:11:59even through the silver screen. Then,
00:12:03the interest in theater continued, especially
00:12:06with the emergence of modern media, which
00:12:10playwrights utilized to promote
00:12:14from rehearsals to production to performance and beyond.
00:12:17Digital media has become an important medium in the media
00:12:21system to contribute to delivering
00:12:25information about theatrical performances from rehearsals to tours
00:12:29and performances. Is it a necessity
00:12:32for written, audio,
00:12:36and visual media to follow
00:12:38theatrical works? It's not a necessity, it's more
00:12:42than a necessity, because as I mentioned before,
00:12:45no artistic work can develop
00:12:49without media coverage. Media is the link between
00:12:53theater and the audience and readers. It's not just the
00:12:57theater audience, but the general public, meaning
00:13:00that media is very essential, essential, essential.
00:13:04Theatrical work,
00:13:07or theater, or arts, and all forms of artistic
00:13:11expression, desperately need media coverage
00:13:14that matches the size of the events
00:13:18and
00:13:20their artistic achievements. Of course, the issue
00:13:24of covering all creative action is essential by the media,
00:13:27including theatrical work. When
00:13:31a work is created, the goal is to reach the largest number of audience members through the medium
00:13:34of media. So, the role of media in all its forms, whether
00:13:38written, audio, visual, or currently electronic, is
00:13:42to inform and deliver
00:13:44creative work to the wide audience. Of course, it is essential.
00:13:48And if the artists involved
00:13:51in creative work do not ensure
00:13:54that they meet through the media,
00:13:57spread their news, and ensure that their works are highlighted
00:14:01through these different media outlets,
00:14:04creativity will reach the audience, and the medium
00:14:07that connects both parties is the media. Meaning, creative art,
00:14:12in the middle. Media coverage in any artistic
00:14:15activity is fundamental. Imagine
00:14:18there are multiple festivals and meetings,
00:14:21and multiple theatrical performances that differ in their schools
00:14:25and orientations, and they are major works
00:14:29with their creations, but when they lack media coverage,
00:14:32they remain limited and within a small group.
00:14:36But with media, we can promote
00:14:39a work and a festival,
00:14:41and it becomes
00:14:45shared with all
00:14:47recipients, internally and externally. And this credit
00:14:51goes to the interaction of theater with media.
00:14:55It must be a necessity, a necessity. Why?
00:14:59Because theatrical
00:15:02production, theatrical production,
00:15:05goes through several stages, writing,
00:15:09rehearsal, production, and so on. But
00:15:12the final stage
00:15:14is the connection
00:15:17with media, meaning media dissemination,
00:15:20meaning promotion.
00:15:23So, necessity is a must.
00:15:27Why? To broaden
00:15:29the horizon and to expand
00:15:33and spread the news and the report,
00:15:36as well as to achieve communication. And there
00:15:39is no doubt that at a certain period,
00:15:44eighties, the radio,
00:15:47the radio, with its simplicity, used to give
00:15:51news and provide
00:15:56dialogues and specify
00:16:00not find an empty
00:16:03hall. The entire city
00:16:07would prepare to receive the upcoming theatrical
00:16:11performance. Originally, media is like
00:16:14a living memory for Moroccan theater.
00:16:17In a number of Moroccan newspapers,
00:16:21researchers published critical papers
00:16:24and analytical articles, and even
00:16:27studies on many theatrical
00:16:31events, whether festivals or shows or seminars,
00:16:34which made these theatrical efforts
00:16:37find material for archiving and publishing. And thus,
00:16:41the Moroccan recipient will learn about theatrical
00:16:44experiences through these media.
00:16:48And television has a great credit in further bringing
00:16:51theater with all its achievements closer to the Moroccan
00:16:55audience. After that came digital media
00:16:58and internet spaces and electronic
00:17:01websites. In fact, it went beyond the role of a specialized
00:17:05journalist to become an artist
00:17:07who is himself a producer of theatrical action
00:17:11and a media person, if I may say,
00:17:15who markets his product. Make your gaze
00:17:17hazy
00:17:19and questioning so that everyone who
00:17:22sees you believes that what you hide is greater and deeper than
00:17:26what you reveal. So, to what extent has media contributed
00:17:30to archiving and documenting Moroccan
00:17:32theater? Without a doubt, it has contributed,
00:17:36but the issue of archiving, I have a big
00:17:39criticism about it because many experiences,
00:17:43due to negligence or
00:17:46through mistakes whose consequences
00:17:50we don't know, we lost many
00:17:52things. So,
00:17:56many theatrical experiences that you mentioned,
00:17:59many
00:18:02unfortunately, we don't have
00:18:06much trace of them left. To the extent that I will go
00:18:10further with you than just
00:18:13theatrical works that were filmed
00:18:16and are no longer available,
00:18:19there are names that contributed a lot to theater
00:18:22in the early stages. You can go online
00:18:25and find all the intruders in the artistic
00:18:28scene, but you won't even find photos of these pioneers.
00:18:32This is something that saddens me, but can
00:18:35we make up for it now? It is possible to
00:18:39make up for it. We shouldn't waste time, and we shouldn't
00:18:42focus
00:18:47paths to find the right one.
00:18:50Meaning, I personally hope
00:18:53that even the teams
00:18:57that film theatrical works, why not have
00:19:01training in other countries on how
00:19:04to transfer television
00:19:07without diminishing the prestige of theater and in a way
00:19:11that makes the viewer want to watch a theatrical
00:19:15work on television? Yes, but in a way that
00:19:18encourages them to go to theaters later,
00:19:21because there are new methods, as you know, and these
00:19:24new methods, I think with the expertise we have in Morocco, especially the many
00:19:28technical competencies
00:19:32and in many cases, we have shown that
00:19:34we need training, short courses, and proper
00:19:56and sound accompaniment
00:19:58for theatrical
00:20:01work. It just needs a little effort. You are now touching
00:20:08theatrical works were not meant
00:20:11to be recorded, and many theatrical works that
00:20:15were recorded, we do not know their fate
00:20:18until now. Although
00:20:21the news that reaches us is very unfortunate news because many
00:20:25of the recordings were lost,
00:20:28meaning they were lost
00:20:30in vain.
00:20:33Therefore, I believe that
00:20:36time is pregnant. As I say, God forgive what has passed, and let
00:20:40us now do what needs to be done. As for the past, it is a very
00:20:44sad past in this
00:20:46matter, Malika.
00:20:50Here is her sister, Mahjouba,
00:20:53and El Rimhada, Saadiya
00:20:56El Ghazaleza
00:21:00and Ammoush. If we talk about audio-visual media specifically,
00:21:03and we talk more specifically about
00:21:06the first and second channels, it is certain that there
00:21:09is an important archive
00:21:13both channels, and
00:21:16many rare theatrical works.
00:21:20For our pioneers and our youth,
00:21:23we find them in the archive of the first channel and also in the archive of the second
00:21:27channel. From the second channel, we are talking about
00:21:30the generation of the late eighties and nineties
00:21:33until now. There is an important archive with the second channel
00:21:37of the plays that were filmed
00:21:40for most Moroccan playwrights, whether they are professionals
00:21:43or amateurs or graduates of the Higher
00:21:47Institute for Theatrical Arts and Cultural Animation. And of course,
00:21:50the first channel had the lead
00:21:54in that, which has
00:21:57theatrical works. And luckily, we find many
00:22:01of these theatrical works through electronic
00:22:05channels, meaning websites
00:22:08and video sites. We find these theatrical
00:22:11works available to the public, and therefore, the documentation of theatrical
00:22:15memory was achieved through our media channels
00:22:19and audio-visual channels. Regarding
00:22:22the documentation of Moroccan theater,
00:22:25I think that at the beginning of independence
00:22:28and even in the sixties, there
00:22:31was documentation of the theatrical movement,
00:22:34even if it was not
00:22:37as we had hoped, but there
00:22:40was documentation. After that,
00:22:43we only find rare
00:22:46and scarce things, whether it is about amateur
00:22:49theatrical groups or professional
00:22:52theatrical groups. We do not find
00:22:56or visual or audio media
00:22:59anything that documents
00:23:04in Morocco, we do not find documentation except for what
00:23:07is rare and little. I think that what
00:23:11we can find is related to the plays
00:23:15of Saddiki and El-Alj
00:23:18only. As for the rest,
00:23:21you cannot find anything that satisfies
00:23:25your curiosity, and this is what
00:23:28also contributed to the decline of the theatrical movement in our country. Yes, media contributed
00:23:32strongly to documenting Moroccan theater
00:23:36and archiving it. As I told
00:23:39you before, for example, personally or many
00:23:43people, before going to the theater, they saw
00:23:46plays on Moroccan television, especially comedies
00:23:50during Eid. We used to watch plays or other
00:23:53plays that were shown on the first channel or the second channel
00:23:56or others.
00:23:59Moroccan television regarding theater, I think
00:24:02it is a rich archive, but I think
00:24:06it should be given its due and why not restore
00:24:09it, revive it, and show
00:24:13it, for example, dedicating a special channel
00:24:17for this theater or its archive. For example,
00:24:20in Egypt, there is a "Zaman" channel that shows
00:24:24old programs in general. Why not dedicate
00:24:27a YouTube channel for these old plays and re-show
00:24:31them to the Moroccan audience, or on a special
00:24:34platform for them? I think the audience is eager to see those
00:24:38old plays because there is a bit of nostalgia
00:24:41and longing to watch plays, especially
00:24:44plays by prominent figures who
00:24:48have passed away.
00:24:50For example, Saadallah.
00:24:54his wife, Khadija Assad. So, why
00:24:57not dust off these plays
00:25:00and restore them and show them
00:25:04again on different
00:25:08levels or channels? I think there will be
00:25:11a great demand for them.
00:25:14By the way, in this question, I would like to
00:25:17extend my greetings and thanks to the first channel, and especially the production
00:25:21department. When we celebrated the 25th session (now in the 34th
00:25:24session), when we celebrated the 25th session,
00:25:28we needed our memory, and we found that Moroccan
00:25:31television is who preserves our memory. So, Moroccan
00:25:34television or media in general
00:25:37is primarily
00:25:43dissemination, but it also
00:25:45contributes to documentation
00:25:49and memory. For documentation,
00:25:52especially in what is now called archiving.
00:25:54The contribution of media
00:26:01in all its forms to archiving and documenting
00:26:04Moroccan theater is
00:26:07a given. It has played a major role in
00:26:10preserving theatrical memory. Through
00:26:13the coverage of shows and the reception
00:26:17of artists in special programs, we were able to
00:26:20learn about the works of theater pioneers. Their works
00:26:24have reached us and remained immortal until
00:26:27this day.
00:27:23I want to understand why all this fuss about protecting
00:27:26personal data, and how can I protect
00:27:30it? Personal data protection is no
00:27:32joke. Our country is taking the matter seriously
00:27:36and has enacted laws and regulations to protect your name, your phone
00:27:39number, your address, your photos, your school
00:27:43information, and even your medical and banking information.
00:27:46In short, any information that can identify
00:27:49you. But I still don't understand why all
00:27:52these precautions are needed. I'll simplify things for you. Your data
00:27:55is like gold. Companies can use it to bombard
00:27:59you with ads. Hackers, meaning pirates, can
00:28:04And there are bad people who can use it against you or even forge
00:28:09purposes. So, in the end, data protection
00:28:12means protecting your freedom, your private life,
00:28:15and your family's life. Oh, to that extent? How?
00:28:19Yes, for example, they can hack your accounts, steal
00:28:22your identity, and buy things with it, open your personal
00:28:26photo. Even if it seems simple to you,
00:28:29the consequences can be huge. Oh Lord,
00:28:32protect us. What should I do to protect myself? It's very
00:28:35easy. First, create a long and different password for each
00:28:39account. Second, enable two-factor authentication whenever
00:28:43possible. Third,
00:28:45don't give too much personal information on websites.
00:28:51of suspicious links or websites.
00:28:54Oh, now I understand. What does the CNDP do?
00:28:58This is the National Commission for the Control of Personal Data Protection,
00:29:01CNDP. Its role is to educate and explain to citizens
00:29:04and institutions how to apply the law. It protects your rights
00:29:07as a citizen and monitors so that no companies or administrations
00:29:11infringe on your privacy. If you are a victim of illegal and unauthorized
00:29:14exploitation of your data, you can file a complaint with the Commission, which ensures
00:29:18compliance with the law on the protection of your personal data. To live in the digital
00:29:22world, we must ensure the protection
00:29:24of our data.
00:29:28Hello, do you remember me?
00:29:31Yes, I am that plastic bottle. And now
00:29:35I'm back, not to complain, but to ask you a small
00:29:38favor: don't take me to the sea anymore, first, because
00:29:42I can't swim,
00:29:45at home. But you can take a glass
00:29:48bottle instead of me, or your water
00:29:52bottle, or your cooler.
00:29:55At least the fish won't eat them then, and they won't be left
00:29:59on the sand. And you can even use them as many
00:30:03times as you want. As for me, I promise you, I won't be left
00:30:06Okay, we agreed.
00:30:09I'm counting on you. That's great.
00:30:13That's what we wanted. And now it's time for me to leave and say
00:30:16goodbye. Take care of yourselves and your sea
00:30:20too. Mohammed VI Foundation
00:30:24for Environmental
00:30:24Protection.
00:30:45the first channel. Here are the main
00:30:47headlines:
00:30:51The establishment of crossing points to Ceuta and Melilla brings back to the forefront
00:30:54the issue of irregular migration. A file in which
00:30:58security and humanitarian dimensions intertwine.