The Beginnings of Theatre in Iraq

Theatre in Iraq has some deep roots in ancient Mesopotamia, but its formal development was delayed due to political, economic and social challenges. The early 20th century, characterized by Iraq’s independence, cultural awakening, and interactions with neighboring countries set the stage for the growth of a distinct theatrical tradition.

There is a belief that theatre in Iraq may have existed before the theatre of ancient Greece and Rome, with scholars such as Fawzi Rashid tracing its origins to the rich cultural heritage of Mesopotamia. Ritual performances, including the Akitu Festival and the Descent of Inanna to the Underworld, are thought to have influenced the development of Greek theatre. Supporting evidence for this theory includes terms for actors and audiences, the architectural designs of Babylonian theatres, and archaeological discoveries of dramatic texts such as the Lament for Ur and Dialogue Between the Master and the Servant.

In later historical periods, especially during the Abbasid era, Iraq saw performances with theatrical elements such as al-Qasakhoun or al-Hakawati (storytellers), Maqamat, shadow plays, puppetry, lamentation rituals, all of which have later become well-known in theatre scholarship.

Yet, the arrival of theatre in its known form in Iraq was significantly delayed compared to other Arab nations like Lebanon, Syria, and Egypt, and this delay can be traced back to several political, economic, societal and historical factors. The country’s conditions created an environment that was not conducive to the development of such a movement until the early 20th century. For much of Iraq’s history, the people lived in dire economic conditions, suffering from poverty, deprivation, and hardship. In such circumstances, theatre, despite being a social necessity, was not seen as a priority.

Despite these challenges, the early 20th century saw several factors that began to shift the tide. The growth of the Iraqi bourgeoisie during the late Ottoman period played a crucial role. With the onset of World War I and the subsequent collapse of the Ottoman Empire, Iraq’s bourgeoisie became more influential. Many members of this class formed connections with countries like Lebanon, Syria, Egypt, and even European nations. These interactions exposed them to new ideas, including the art of theatre, which they began to appreciate and explore.

Iraq’s separation from the Ottoman Empire following World War I allowed the country to carve its own path. Also, the 1920 Revolution against the British colonization was another key event that sparked cultural awakening. The newfound independence brought with it a sense of possibility and a desire to recover Iraq’s cultural identity. This period of self-determination provided the country with the space to address internal issues, including the question of theatre. It unified the people and created a fertile ground for artistic expression.

Religious rituals, particularly those surrounding the martyrdom of Imam Hussein (Taʿziyeh), also contributed to the rise of theatre in Iraq, albeit indirectly. These rituals, while not the origin of the theatre movement, provided a cultural framework that nourished the artistic spirit, creating an environment where theatre could eventually flourish.

However, the earliest forms of drama in Iraq were church morality plays written largely by Iraqi clergy. Most playwrights from 1880 to 1920 were residents of Mosul, fluent in foreign languages, and had more contact with the West through Turkey and Syria than those in other parts of Iraq. Many were educated in Europe, where they encountered Western theatre practices. While early plays focused on religion, social dramas emerged as early as 1892, and political drama, opposing Ottoman and British rule, grew during the early twentieth century. [1]

After the formation of Iraq in 1920, a theatrical renaissance emerged, led by theatre enthusiasts focused on its educational, political, and social roles. Theatrical works highlighting Arab stories, bravery, and heroism flourished, with schools presenting both social and historical plays. The first law for associations was issued in 1922, allowing for the establishment of theatrical troupes and artistic societies. In the early 20^th century, plays based on Arab and Islamic history were presented with a nationalist focus. Performances often featured exaggerated emotions and speeches.

Despite the crude beginnings, the first generation of theatre pioneers set the stage for the eventual growth of a more refined and sophisticated theatrical tradition in Iraq. Their contributions, especially in the 1920s, were critical in moving the country from a state of social stagnation to a period of cultural creativity. The political character of King Al-Nuʿman ibn al-Mundhir marked the beginning of a new era for Iraqi theatre, one that would continue to evolve in the years that followed. In 1920, inspired by Arab history, Iraqi poet Muhammad Mahdi al-Basir’s play Nuʿman ibn al-Mundhir was performed at the Olympia Cinema Theatre in Baghdad. The protagonist, Al-Nu’man, rebels against the Persian occupation, symbolizing resistance against the British. The play, performed during the 1920 Iraqi Revolution, used this historical metaphor to encourage rebellion.

In 1921, Mosul Literary Club was established, which quickly began forming its theatrical troupe and proceeded to produce its first work, Fath Amoria, the first Arabic historical drama written by Shawqi al-Bakri. Critics consider this play as one of the most significant plays that kindled national consciousness among the youth and highlighted themes of sacrifice and patriotism. The play tells the story of a beautiful Arab girl captured by the Roman commander, Sabinus, who falls in love with her, but she rejects him. The play dramatizes her iconic call for help, “Wa Muʿtasimah!” which ultimately compelled Caliph Al-Muʿtasim Billah to lead his army to Amoria, conquer the city, and liberate her from captivity.

In 1922, Khalis Al-Mulla Hamadi founded the Arab Performance Group, which ignited artistic activity in Baghdad and beyond. This group shaped theatrical awareness among Iraqi youth, staging several plays. In the same year, The Iraqi Performance Club was established, producing plays with historical and literary themes to honor the legacy of Iraq’s ancestors.

In 1926, the George Abiad troupe’s visit to Iraq marked a turning point in the country’s theatrical movement, providing a central focus and driving force for Iraqi theatre. The movement gained momentum with the participation of Iraqi artist Haqi Al-Shibli, who played Oedipus’ son in Oedipus Rex. This experience led Al-Shibli to establish Iraq’s first professional theatre troupe in 1927, named the National Performance Troupe. They produced many plays including Acts of Valor, Julius Caesar, and Hamlet. Most of these plays were specially prepared or adapted from works by Western and Arab writers, with few being original theatrical works. In 1928, Al-Shibli’s troupe toured Iraq, and in 1929, he collaborated with the Fatima Rashidi troupe, later traveling to Egypt for training under Aziz Eid.

The 1930s marked a period of significant development in the Iraqi theatre movement, characterized by greater stability, productivity, and resilience compared to the previous era. The construction of new school buildings with spacious halls for plays, along with the availability of essential equipment, supported this growth. Iraqi writers began to value theatrical work, contributing to the creation of plays, some of which were printed, fueling continued theatre activities. The political climate of the time, marked by broad popular participation, helped shift negative attitudes toward the arts, particularly theatre and cinema. The arrival of two Egyptian theatre groups, Atallah (1931) and Youssef Wahbi (1933), further enriched the scene with their performances, showcasing various plays. Iraqi theatre gained momentum after Egyptian troupes returned, allowing local enthusiasts to access their plays and learn about their progressive content. This led to the creation of theatre groups that focused on historical and social issues

In the 1930s, new theatre groups emerged. In 1934, alongside the Performance Supporters Group, the Babylon Theatre group was also founded. The latter group contributed to the theatre scene through several productions; chief among them was The Confession. The play was first staged at the Central Preparatory School Theatre and later performed at the Teachers Institute in al-Adhamiyya, attended by Minister Sami Shawkat.

In 1935, Haqi Al-Shibli traveled to France for further studies, returning in 1939 to establish a theatre department at the Institute of Fine Arts. This development marked a pivotal moment in Iraq’s theatrical history, which symbolized the growing recognition of theatre as an important form of human expression. Al-Shibli focused on training actors and directors while presenting theatrical works. However, the missing element in Iraqi theatre at that time was a national playwright with knowledge, experience, a clear vision, and an innovative artistic voice. This did not emerge until the early 1960s.

To conclude, although Iraq faced numerous obstacles in its early theatrical development, the 20th century marked the beginning of a dynamic theatre movement. The nation’s independence, cultural resurgence, and engagement with neighboring countries paved the way for a flourishing and evolving theatrical tradition.

Sources:

Abbas, Ali Mzahim. Iftahu al-Sitar (Open the Curtain). The General House of Cultural Affairs, Baghdad, 2007.

Al-Mafraji, Ahmed Fayyadh. Al-Haraka al-Masrahiyya fil Iraq (Theatre Movement in Iraq), Al-Sha’ab Printing, Baghdad, 1965.

Al-Ra’ee, Ali. Al-Masrah fi al-Watan al-Arabi (Theatre in the Arab World). National Council for Culture, Arts and Letters, Kuwait, 1999.

Al-Talib, Omar. Al-Masrahiyya al-Arabiyya fil Iraq (Arab Drama in Iraq) Vol.II. Al-Nu’man Printing: Najaf, 1971.

[1] For more information on church drama in Mosul and its role in the development of modern Iraqi theatre, see Amir Al-Azraki and James Al-Shamma, “The Birth of Modern Iraqi Theatre: Church Drama in Mosul in the Late Nineteenth Century” Arab Stages, Vol.2, No.1 (2015). https://arabstages.commons.gc.cuny.edu/2015/10/the-birth-of-modern-iraqi-theatre-church-drama-in-mosul-in-the-late-nineteenth-century/