沃努斯是一位具有强烈民族使命感的作家。1967年阿拉伯国家在“六·五”战争中惨败,给作家心灵造成极大震撼。他是战后最早对阿拉伯政治、社会、文化状况进行反思的作家之一。他在七十年代创作的作品,如《纪念“六·五”战争的晚会》、《大象,时代之王》、《国王就是国王》等,都力图从阿拉伯社会内部寻找战争失利的原因。通过作品他揭示了当代阿拉伯国家政治专制、社会腐败、民众麻木等流弊,希望引导民众意识到内部危机是民族失利的主因,进而认清现实,为改革现实而思考、行动。八十年代以后,他的作品更多反映出对人生世界的哲学思考,在《强奸》、《当代一日》、《暗示与变化的仪式》等剧作中,作者描写了小人物复杂而矛盾的内心世界,刻画了他们隐秘的欲望与幻想,质疑并嘲讽了荒诞的人生。后期作品还传达了这样的思想:人只有勇敢地面对自身、面对内心,才能勇敢地应对重大事件的挑战。《奴仆贾比尔头颅历险记》(Mughamaratu Raas al-mamlukJabir)创作于“六·五”战争之后不久的1970年,取材历史,影射现实,通过讲述宫廷之争中奴仆贾比尔及巴格达百姓富有悬念的悲剧故事,批判了民众听天由命、苟且偷安、投机取巧、逃避政治等消极可悲的心态,这是奴仆贾比尔等传说中人物的心态,也是在现实生活中颇具代表性的咖啡馆茶客们的心态。作者巧妙地借助阿拉伯民间常见的说书形式展开全剧,刻意消除演员与观众间的界限,咖啡馆的茶客们不仅是故事的听众和旁观者,也是全剧不可或缺的参与者。他们又何尝不是剧场观众的缩影,乃至生活在这个城市、这个地区民众的化身?由此,作者希望通过戏剧实现不同层面的对话:剧中人物间的对话,人物与观众间的默默对话,观众之间的对话,演员、观众与所在城市的对话。而对话的目的在于启发人们的思考与行动,因为未来取决于他们自己。该剧问世后曾一度被禁,后在叙利亚等许多阿拉伯国家上演,并被译成多种语言,在法国、民主德国演出。1974年由著名导演穆罕默德·夏辛改编为电影。 Wunus is a writer with a strong sense of national mission. The Arab defeat in the “June 5” war in 1967 caused great shock to the writer’s mind. He was one of the first writers to reflect on Arab politics, society and culture after the war. His works written in the seventies, such as the party commemorating the June 5 War, the Elephant, the King of the Times, and the King as the King, are all trying to find the war defeat within Arab society the reason. Through his works, he reveals the abuses of political tyranny, social corruption and numbness of the people in contemporary Arab countries. He hopes to guide the public to realize that the internal crisis is the main cause of the national defeat, so as to understand the reality and think and act in order to reform the reality. After the 1980s, his works reflect more philosophical thinking on the world of life. In the dramas “Rape,” “Contemporary Day,” “Implications and Variations,” the author describes the complex and contradictory The inner world portrays their hidden desires and fantasies, questioning and ridiculing absurd life. Later works also convey the idea that people can face the challenges of major events with courage only when they confront themselves and face their hearts. In 1970, Mughamaratu Raas al-mamluk Jabir was created shortly after the “June 5” war by drawing on history and projecting reality. By referring to the battle of the palace, Jabir, a slave, and the rich people in Baghdad The tragedy story of suspense has criticized the negative and sad mentality of the public, such as letting go of their own destiny, keeping themselves vigilant, opportunistic and avoiding politics. This is the mentality of the legendary figure such as Jaber, who is also a representative of real life cafe guests Mentality. The author skillfully resorted to the common Arabian folk storytelling form the start of the play, deliberately eliminate the boundaries between actors and spectators, cafe guests are not only the audience and bystanders of the story, but also the play an integral player. Why do they not epitomize the theater audience, and even live in this city, the embodiment of the people in the area? Therefore, the author hopes to achieve different levels of dialogue through drama: dialogues between characters in the play, silent dialogue between characters and audiences, viewers Dialogue between the actors, spectators and their cities. The purpose of the conversation is to inspire people’s thinking and action, because the future depends on themselves. The show was once banned after it appeared, staged in many Arab countries such as Syria, and was translated into multiple languages, performing in France, Germany in democracy. In 1974 by the famous director Mehmet Cheshun adapted into a movie.