Fez — “Le Procès de la Conscience” (“The Trial of Conscience”) is preparing to travel across Morocco with a four-city tour that blends theater, philosophy, and public dialogue into a single stage experience.
Created by Faroudja Hocini and Bruno Dallaporta, the production is backed by “La Maison de la Philosophie du Maroc” and is being presented as more than a conventional play. Its organizers describe it as a participatory encounter in which the audience is drawn into a collective reflection on choice, doubt, and responsibility.
The tour is scheduled to begin on March 27 at the Complexe Culturel d’Anfa in Casablanca, followed by a March 28 performance at the Club des Avocats in Rabat. The play will then head to Dar Souiri in Essaouira on April 3 before closing in Oujda on April 11 at the EHEIO, listed in coverage of the event as the École des Hautes Études en Ingénierie.
What sets the production apart is its central premise. Rather than telling a straightforward story, the play puts human conscience itself on trial.
A description shared by “La Maison de la Philo” frames conscience as a defendant accused of separating itself from the body and of trying to dominate the world to the point of exhaustion. In that setting, the public is not merely watching events unfold. It becomes part of the judgment, turning the performance into a kind of civic deliberation.
Theater as public reflection
The concept gives the work an unusual place within Morocco’s cultural calendar. It sits between performance and philosophical inquiry, using the stage as a space to test ideas that are often left to classrooms, books, or private debate.
Organizers say the play draws on themes that range from altered states of consciousness and near-death experiences to evolution, plants, and the Earth system, widening the discussion beyond the human individual alone.
That approach helps explain why the production is being framed as accessible to broad audiences despite its intellectual ambition.
The event announcement emphasizes poetry, music, laughter, and improvisation alongside its more reflective elements, suggesting that the piece is designed to engage rather than lecture. In a cultural moment when audiences often seek immersive and participatory experiences, “Le Procès de la Conscience” appears to offer both seriousness and openness.
The tour also reflects the growing visibility of interdisciplinary cultural projects in Morocco, where theater is increasingly being used to host wider social conversations.
By moving through Casablanca, Rabat, Essaouira, and Oujda, the production extends that conversation across regions rather than limiting it to a single elite venue or city.
