Qamishlo, Syria – Syrian Kurds’ relationship with the theatre used to be manifested at Newroz celebrations, which marks the Kurdish new year on March 21 of every year. However, it was limited to hobbyists with no technical assistance.
In Hasaka province, art and literature, including theatre, have recently revived, where new theatrical groups were constituted, some are committed to the “Syrian revolution”.
“Revolutionary Women’s Theatre” is one of the groups formed during the Syrian crisis.
Speaking to ARA News, playwright and head of the group, Gulnaz Hussen, said: “After the anti-regime protests stopped in Hasakah province, and armed revolution started in the internal land of Syria, we wanted to keep our revolution peaceful.”
According to Hussen, the stage is an arena for their revolutionary ideas that tackle the Kurdish-Kurdish conflict, peace among the different Syrian factions, migration, seeking refuge, etc.
“Shano” is another group established by dramatist Abd al-Rahman Ibrahim, using the base of the Syrian Organization for Democratic Development for their shows.
“Members of our group are teenagers aiming to support and take them away from the crisis’ context,” he told ARA News.
“Life is born from death. Our shows are related to the current situations in our region, away from the nationalistic concept, aiming to spread the culture of peace and coexistence,” Ibrahim added.
Ibrahim’s plays depend on academic studies based on the method of Constantin stanislavski – Russian actor and theatre director.
Ibrahim talked about “No one for the other”, the most important play performed by “Shano”, saying: “The play talks about Syrian refugees’ lost dreams and sufferings in camps.”
Mayar, 17-year-old student at Actors Development workshop organized by “Shano”, told ARA News:”I want to challenge our society to accept the idea of actresses and women’s work in all domains.”
Solin, 18-year-old Kurdish actress, expressed her desire to “spread the Kurdish traditions and thought through stage”.
According to Wael, 18-year-old student of Drama and Art, “For many, theatre was a tool to use youth’s capacities in constructive creative domains”.
“We can keep ourselves away from violence and drugs by performing shows talking about theses social diseases,” Wael said.
Hindren, 13, finds that “theatre in our city was established thanks to the revolution”.
Shavan, 14, wanted the theatre a tool to talk for “the poor and injured by revolution” and to tell “the world about the children who die of war, poverty and hunger.”
Theatre was revived in Kurdish-majority areas following the spread of cultural civic centers and non-interference of the Syrian security to prevent such activities like in pre-crisis phase.
Reporting by: Shana Sieda
Source: ARA News
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