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In 1970, Abdel-Halim Caracalla founded what would evolve into the first and most prominent theatre in the Middle East. Aiming towards a new language in dance with a style based on the amalgamation of the Western and Oriental, the Caracalla Dance Theatre began its rise at the 1972 Festival of Osaka in Japan. Having combined yesterday's heritage with today's technique, the company's continued success made it a permanent visitor on the stages of Europe, Africa, the Arab countries, Canada, Southern America, Russia and the United States.
The first full-length production, Mystery of the Bizarre (1974), followed by the world tour for The Black Tents (1978), were the breakthrough programs that brought international press recognition. Caracalla had crystallized the developing lyricism of his choreography and paved the way for his next ballet, Shot of Glory (1980), leading to additional world tours with Taming of the Shrew (1982) and Echoes (1985), productions that proved to be an impetus for his artistic path. In 1990, Caracalla audiences witnessed an Oriental Midsummer Nights Dream, another ballet inspired by William Shakespeare and in 1996, Caracalla performed Elissa, Queen of Carthage in the Oman Auditorium of the Al-Bustan Palace Hotel.
The Caracalla Dance Theatre was appointed to re-open the 1997 Baalbeck International Festival with the premiere of Andalusia, The Lost Glory. It re-lit the stage and re-established Baalbeck as a forum for art and talent.
In the summer of 1999, the company performed as part of the Baalbeck Festival, a musical adaptation of Much Ado About Nothing to full house capacities of over 22,000 spectators. As part of its autumn tour, the company returned to the Peacock Theatre, to present the London audiences Andalusia, The Lost Glory.
In 2001, Caracalla graced the stage of Baalbeck again for its production of Two Thousand and One Nights, a musical adaptation of Arabian Nights. Now in January 2003, the production will again be performed at the BIEL exhibition centre.
Throughout the years of Lebanese war, the Caracalla Dance Theatre never conceded to the ongoing strife, but rather continued to be an artistic and cultural ambassador, claiming a global theatrical audience.
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