It was last Tuesday that the El Jadida Theatre was inaugurated by the Minister of Culture, Mohamed Amine Sbihi, after long months of work. King Mohammed VI decided to name the El Jadida Theatre after the Moroccan Othello, Mohamed Saïd Afifi, a great man of the theatre, humanist and universalist. For its part, the DGCL, the provincial council, the urban commune of El Jadida and the rural commune of Moulay Abdellah had pulled out all the stops to advance the renovation work on this monument, estimated at nearly 7.5 million DH. Seven hundred spectators were present at the inauguration of the Mohamed Saïd Afifi Theatre and many personalities had travelled for the occasion, such as Mjid, Abdelwahab Doukkali, Omar Sayed, Buimid, El Jem, Erraji, Nafali, Hassan Benjelloun, Ezzine, Ajil, Bikr and many others. On this occasion, Mrs. Karima Afifi, the wife of the late Mohamed Saïd Afifi, and her children expressed their deep gratitude to His Majesty the King for the high solicitude he has always shown towards Mohamed Saïd Afifi, and for the interest he takes in Moroccan artists and their families and in the promotion of art in general. As for the Labrija Ibdaâe Company, dedicated to the late Mohamed Saïd Afifi, it expressed all its pride and said it was convinced that, thanks to this wise decision, all the Doukkali theatre practitioners, in particular, and Moroccans, in general, would work hard so that the Mohamed Saïd Afifi Theatre would be a true tool for communication and a gateway open to the world. Indeed, this infrastructure will be, beyond a tool for the promotion of art and culture, an instrument to foster the emergence of responsible citizenship. Furthermore, this royal initiative will surely contribute to encouraging young people who want to embark on an artistic career, in cinema or theatre. However, one might wonder why the Jdidi artists, students of the late Mohamed Saïd Afifi, were struck by "ostracism" during this inauguration and why the great actor Mohamed Ben Brahim, Berradi, Chahramane and so many others were absent. Moreover, several questions arise concerning the show presented: did the rather mediocre play justify the sums committed to this event, and especially the hiring of a great choreographer, Lahcen Zinoune? Is this really Doukkali culture (qaâda, rekza, jarra...)? Was it worthy of the great artist that was Mohamed Saïd Afifi? Why this almost systematic exclusion of all Jdidi artists (Mohamed Ben Brahim, Jelbi, Chakir, Sebbagh, Tarda, Jeddad, Sikab, Rabbani, Khajjou, Khmim, Ouaski, Nesnassi, Gabi, Birka, Chahbi and so many others...)? And why the name Afifi alone as the name of the theatre, instead of Mohamed Saïd Afifi, as intended and written in the decision of His Majesty Mohammed VI? Because this can easily lead to confusion: is it the writer Mohamed Afifi? The visual artist and videographer Saïd Afifi? All the Afifis of the Kingdom and the Arab world... To conclude, one should quote the phrase that the late Mohamed Saïd Afifi constantly repeated: "We want life in the theatre and theatre in life. That is why this theatre must be a collective pride and a formidable lever for culture and art..."