Representation Of Women In Iraqi Theatre: An Interview With Playwright And Director Dr. Awatif Naeem

Awatif Naeem is an award-winning TV and theatre actress, director, playwright, and critic. She previously served as the vice president of the Iraqi Artists Syndicate. She was born in Baghdad in 1950 and has a Ph.D. in Directing from the College of Fine Arts in Baghdad. She is the Director and Founder of the Children’s Theatre of Baghdad, a cofounder in 1994 of the Iraqi Theatre Critics’ Association, and the Vice-President of the Iraqi Union of Artists. She has written and directed more than 30 plays for the National Theatre Troupe and has represented Iraqi theatre at many international festivals. Her work as a playwright includes Sorry Sir, I Didn’t Mean That (ʾAʿtadhir ʾUstadh,Lam ʾAqṣud Dhālik; Tunisia, 2003), Oh My Son, Mutar! (Muṭar Yummah; Iraq, 1989), Lorca’s Women (Nisāʾ Lorca; Iraq, 2006), Me, Torture, and Your Love (ʾAna wa-l-ʿAdhāb wa Hawāk; Iraq, 2012), Women’s Parliament (Barlamān al-Nisāʾ), produced at the National Theatre, Baghdad, in 2013, and I Am My Face (ʾAnā Wajhī), produced at Ashur Theatre, Baghdad, in 2021. She wrote and directed Hardy Clay Stones (Ḥajar al-Sijīl; Iraq, 2000). She has written the following TV dramas: Me, Her, and Him (ʾAnā wa Hiya wa Huwa), Above the Clouds (Fawq al-Saḥāb), Eyes of Fear (ʿUyūn al-Khawf), and Hearts Inhabited by Love (Qulūb Taskunuhā al-Maḥabba). She appeared as an actress in the films Borders in Flames (al-Ḥudūd al-Multahiba ; 1984) and Another Day (Yawm al-Ākher; 1977).

 

Amir: How has the representation of women in Iraqi theatre evolved over the past few decades?

Awatif: Iraqi theatre has been influential in shaping the theatrical movement in the Arab region. It is considered a pioneering and advanced theatre. Its founders drew inspiration from Western experiences but infused local theatre with its own distinct character, making it an integral part of a cultured Iraqi society and a necessary and celebrated component of it. Consequently, the presence of women in Iraqi theatre has been both significant and positive. In most performances, women have been central figures—portrayed as wives, sisters, lovers, or rebellious leaders guiding people toward freedom. Their presence has been active and assertive, not merely supplementary. This is evident in the work of progressive Iraqi and Arab playwrights and directors, who have explored women’s issues through original writing, translation, or adaptation of global theatrical texts, infusing them with distinctive Iraqi or Arab perspectives.

Amir: How are female characters typically portrayed in Iraqi plays? Are they shown as passive, active, heroic, or flawed?

Awatif: In drama, characters often embody a range of positive or negative traits. Some drive the plot, develop the narrative, and enhance the dramatic structure, while others are instrumental in resolving key moments in the story. This approach is also evident in Iraqi theatre, where female characters are depicted with both positive and negative traits, contingent on the play’s construction and staging. Iraqi theatre features a range of female characters: the rebellious woman, the passionate lover, the self-sacrificing figure, and the woman who has been stripped of her will and resigned to her fate. The key point is that the portrayal of these women in a performance underscores the play’s objectives and content, striving to impart insightful, educational, and meaningful ideas to the audience.

Amir: How do societal norms and cultural expectations influence the depiction of women in Iraqi theatre?

Awatif: In the context of Iraqi and Arab theatre, there is a pronounced respect to social traditions and religious values. Iraqi theatre presents a wide range of performances, from traditional plays to experimental, physical, and expressive works, where the body often plays a pivotal role. While some productions explore heritage and historical themes, others are inspired by folk tales and myths. Despite this diversity, there is a conscious effort to maintain sensitivity and respect towards audiences of various backgrounds, beliefs, and values. The overarching aim is to foster collaboration, interaction, and dialogue while carefully avoiding any potential offense to the national, moral, or humanitarian values upheld by the audience.

 

Amir: How does the presence of women in directing, producing, and designing roles affect the portrayal of female characters in Iraqi theatre?

Awatif: Directing theatre requires more than just skill, creativity, and leadership; it demands extensive knowledge that goes beyond the boundaries of theatre itself. A director needs to understand not only the theatre architecture, space, and scenography, but also have insight into the social fabric and the ethical and national values of the community in which they work.

In Iraqi theatre, female directors are a rarity. Some of these women are intermittent in their involvement, while others are reluctant to take risks or engage in dialogue. This hesitance is not necessarily due to fear but rather stems from a competitive, male-dominated environment that often views writing and directing as areas reserved for men. There is a prevailing belief that women should confine themselves to acting roles, being led rather than leading. Despite this, there are capable women who can excel in directing and exploring the complex realms of theatre.

Reflecting on my own experience, it has not been easy to establish myself as a creative force in both Iraqi and Arab theatre. Competing with those who see themselves as the pinnacle of the field has been challenging. The journey for female directors, writers, and critics is fraught with administrative and financial difficulties, and there are often efforts to undermine or obstruct their work. However, the real satisfaction comes from overcoming these challenges, addressing obstacles, and enriching the artistic experience and impact within the theatre.

Amir: How have political changes and conflicts in Iraq impacted the representation of women on stage?

Awatif: Political changes play a role in attempting to suppress dissenting opinions. Theatre, being a double-edged sword, often faces fear from authorities worldwide, who are reluctant to grant it absolute freedom to convey messages that may incite, protest, or criticize the government and its decisions. Consequently, censorship is common in performances, driven by concerns over possible interpretations or projections arising from indirect methods and subtexts such as symbolism and expressive techniques.

Iraq, with its numerous political and religious conflicts, has become an exposed arena for confrontations and protests. Theatre, reflecting and influenced by its environment, inevitably mirrors these issues. It is no surprise that theatre often uses comedy, history, and mythology to express views and criticisms of the current state of the country. Thus, performances emerged in which the leading roles were played by women, depicting stories of loss, martyrdom, abduction, sectarianism, and the enslavement they endured during ISIS’s invasion of Iraq.

 

For example, I wrote and directed a play titled Sabaya Baghdad (Captives of Baghdad), which addresses the tragedy of ISIS and the abduction of Yazidi women. The play portrays the harrowing experiences of women who were sold into slavery and subjected to sexual exploitation. The performance concluded by raising a red flag to sound the alarm for the future, warning that the unborn children forced into the wombs of these captives could become ticking time bombs if the situation is not remedied and addressed. The play garnered significant attention and notable success. However, instead of receiving the praise and recognition I anticipated, the Ministry of Culture—under the influence of a former minister—pressured me and imposed restrictions, questioning the choice of the title Sabaya Baghdad.

Baghdad, as the central hub of governance and decision-making, is viewed as ultimately responsible for any issues affecting other regions of Iraq since it serves as the primary point of reference and authority. The Ministry of Culture sought to undermine and ban the play both locally and internationally, despite it being entirely funded by Muhtaraf Baghdad al-Masrahi (Baghdad Theatre Studio), led by theatre artist Aziz Khayoun, without any external support. This example underscores that, despite claims of democracy, theatre frequently lacks genuine freedom and opportunity unless there is a responsible and enlightened authority that truly supports freedom of expression and diverse viewpoints.

 

Plays:

I Am My Face (ʾAnā Wajhī)

Lorca’s Women (Nisāʾ Lorca)