In progress
Based on an interview by Mohamed El-Assyouti
Caroleen Khalil began acting as a teenager in England, graduated from AUC's theatre department and then travelled to the US on a Ford Foundation grant where she studied and acted in two short films. She has worked on the stage, in several soap operas and in films. She worked in puppet theatre and directs the storytelling performances for the Women and Memory Forum. She has appeared in Al-Batal (The Champion, 1998) by Magdi Ahmed Ali, Gannat Al-Shayatin (Fallen Angels' Paradise, 1999) by Osama Fawzi and Khali Al-Dimagh Sahi (Keep Sober, 2002) by Mohamed Abu-Seif. She won Best Supporting Actress awards from the Alexandria Film Festival for her performances in the last two films, and from the National Film Festival for her role in Gannat Al-Shayatin.
I only began to consider myself a professional actor four years ago. This year has been the busiest so far. I acted in a soap opera, this Ramadan's Lidawa'i Amniya (For Security Purposes) by Mohamed Fadel; a feature film, Khali Al-Dimagh Sahi; a commercial children's play Arnab wa Aqrab wa Feel (A Rabbit, A Scorpion and an Elephant) by Nasser Abdel-Moneim; a second play, Al- Hanager's Mush'ilu Al-Hara'iq (Fire Starters) directed by the Iraqi- German Awni Karoumi and a number of short films. I've also directed storytelling events including Al- Geniya (The Female Jinni) which showed during the Shehrazade Now Festival -- organised by Goethe Institut, the Swiss Cultural Centre ProHelvetia and Townhouse Gallery .
I am particularly pleased with my work in the Semat-produced short films Robabikiya aw Alwan minal- Hubb (Colours of Love) and Thulathiyat Al-Iskandariya (The Alexandria Trilogy) by Ahmed Ghanem and Ahmed Abu-Zeid, respectively, which were both shot this year. These days I am taking time out and noting the feedback I receive for the year's work. I sneaked between the audience during the Eid screenings and it was really exciting to see how they interact with the character and recognise her as a fellow human being. This was much more fulfilling than receiving the award.
I've worked hard to prove my ability to play different characters. I have tried to explore different possibilities. In Wael Mandour's short film Sihr Afriqi (African Charm) I play a middle-class prim and proper daughter; in Ahmed Rashwan's short film Al-Sabah Al- Tali (The Morning After) a peasant; and in Khali Al-Dimagh Sahi a poor housewife and mother of two naughty children. I am realising how the more diversified the characters I play are the more confident I become. I am satisfied with having pushed myself in all these different directions. Meeting each challenge has given me more courage to play bigger roles and assume bigger responsibilities.
It is the pattern that once a part is written directors follow a very narrow stereotyping path to establish a character. They are not accustomed to expect much from the actors. I take risks in my approach to roles and I hope this inspires the writers and directors I collaborate with to follow suit. It is contrary to my own nature and against the grain of my creative character to have preconceived ideas about the characters I play. I feel that it is disappointing to the audience as well. I try to infiltrate the professional banality of the system and discuss and improve the dead words of the script.
I like to bring characters to life, first because it makes my job more exciting and second because this helps me draw the audience in. I act to bring something to life, not to project my own personality, nor with the ambition of being a star. I do not have a big ego nor am I a trendsetter. I do not want to be fashionable or to make four movies a year. I prefer quality to quantity and what I care about is building this special rapport, this human relationship with the audience. I do not think that I will ever stop acting. I want fame and fortune to come on my own terms, by doing the things I like and which I would like to appeal with to my audience.
Acting is not about dressing up then talking and walking through the part. For me it is about assimilating people and bringing out the spirit and the soul of the character. This is my strength. I think I have the best job in the world. Even though I am not competitive by nature, nor patient either, I have had to teach myself patience. Now I believe I have enough patience and stamina to keep going.
In Egypt, especially, female characters are very one-dimensional, but I am not into moaning and groaning about how female characters are so underwritten. I deal with the facts as they are, and that's how the business is -- it marginalises, and allows for no development of female characters. I always get excellent feedback when I suggest some changes. I cannot always control what I am going to be offered, but through collaboration I can help improve on what I am offered. I love team work. I prefer it when all those involved in the creative process contribute ideas and open up possibilities.
At the beginning of next year I will be performing at Al-Tali'a in a play, Al-Lahn Al-Mafqoud (The Lost Melody), directed by Amr Qabil. There are also a couple of film productions but these are still in the early stages. Our storytelling performances regularly visit schools, youth centres and literacy centres. Directing them has made me realise more and more how creative activities are essential for education and skills' development. I am getting paid for meeting people and understanding them, which is my hobby. I work very hard because I am doing what I like. And I'm being entertained too.
