Representation of Women in Iraqi Theatre: An Interview with Playwright and Director Dr. Awatif Naeem

Awatif Naeem is an award-winning television and theatre actress, director, playwright and critic. She was previously the Vice-President of the Iraqi Artists Syndicate. She was born in Baghdad in 1950 and holds a Ph.D. in Directing from the College of Fine Arts in Baghdad. She is the Founding Director of the Children’s Theatre of Baghdad, a co-founder in 1994 of the Iraqi Theatre Critics’ Association and Vice-President of the Iraqi Union of Artists. She has written and directed over 30 plays for the National Theatre Troupe and has represented Iraqi theatre at many international festivals. Her work as a playwright includes Sorry sir, that’s not what I meant (`Aʿtadhir `Ustadh,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-Nisaʾ), produced at the National Theatre in Baghdad, in 2013, and I am my face (ʾAnā Wajhī), produced at the Ashur Theatre, Baghdad, in 2021. She wrote and directed Hard 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 (`Uyūn al-Khawf), And Hearts inhabited by love (Qulūb Taskunuhā al-Maḥabba). She appeared as an actress in the films Borders in flames (al-Hudūd al-Multahiba ; 1984) and Another day (Yawm al-Akher; 1977).

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

Awatif: Iraqi theatre has been influential in shaping the theatre movement in the Arab region. It is considered a pioneering and cutting-edge theatre. Its founders drew inspiration from Western experiences, but gave local theatre its own character, making it an integral part of a cultured Iraqi society and a necessary and celebrated part of it. Consequently, the presence of women in Iraqi theatre has been both significant and positive. In most performances, women have been central figures – depicted as wives, sisters, lovers or rebellious leaders leading people to freedom. Their presence has been active and assertive, not merely complementary. 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 theatre texts, and have provided them with distinctive Iraqi or Arab perspectives.

The madness of the pigeons (Junūn al-Ḥamā’im), written and directed by Awatif Naeem, al-Rashid Theatre, 2024. Photo: Awatif Naeem.

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 qualities. Some drive the plot, develop the story, 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 qualities, depending on the construction and staging of the play. Iraqi theatre features a range of female characters: the rebellious woman, the passionate lover, the self-sacrificing figure, and the woman who has been robbed of her will and has resigned herself to her fate. The key point is that the representation of these women in a performance underscores the aims and content of the play, and strives to convey insightful, educational, and meaningful ideas to the audience.

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

Awatif: In the context of Iraqi and Arab theatre, there is a pronounced respect for 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 crucial 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 for audiences with different backgrounds, beliefs and values. The overarching goal is to promote collaboration, interaction and dialogue, while carefully avoiding any possible offense to the national, moral or humanitarian values ​​upheld by the audience.

Amir: How does the presence of women in directing, producing and design roles influence the representation of female characters in Iraqi theatre?

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

In Iraqi theatre, female directors are a rarity. Some of these women are occasionally involved, while others are reluctant to take risks or engage in dialogue. This reluctance is not necessarily due to fear, but stems from a competitive, male-dominated environment that often sees writing and directing as domains reserved for men. There is a prevailing belief that women should be confined to acting roles, to be led rather than to lead. Despite this, there are capable women who can excel in directing and exploring the complex realms of theatre.

Looking back 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 top of the field has been a challenge. The journey for female directors, writers and critics is fraught with administrative and financial difficulties, and there are often attempts to undermine or hinder their work. However, the real satisfaction comes from overcoming these challenges, tackling obstacles and enriching the artistic experience and impact within theatre.

The madness of the pigeons (Junūn al-Ḥamā’im), written and directed by Awatif Naeem, al-Rashid Theatre, 2024. Photo: Awatif Naeem.

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

What a hassle: Political change plays a role in attempts to suppress dissent. Theatre, 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 about possible interpretations or projections that arise from indirect methods and subtexts such as symbolism and expressive techniques.

Iraq, with its many political and religious conflicts, has become an open arena for confrontation and protest. Theatre, which reflects and is influenced by its environment, inevitably reflects these issues. It is no surprise that theatre often uses comedy, history and mythology to express views and critiques of the current state of the country. This gave rise to performances in which women were the protagonists, portraying stories of loss, martyrdom, kidnapping, sectarianism and the slavery they endured during the ISIS invasion of Iraq.

For example, I wrote and directed a play called Sabaya Baghdad (Prisoners of Baghdad), which deals with 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 ended with the raising of 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 received a lot of attention and was a remarkable success. Instead of receiving the praise and recognition that I had expected, the Ministry of Culture – under the influence of a former minister – put me under pressure and imposed restrictions, questioning the choice of the title Sabaya Baghdad.

Baghdad, as the central hub of governance and decision-making, is seen as ultimately responsible for all issues affecting other regions of Iraq, as it serves as the primary point of reference and authority. The Ministry of Culture attempted to undermine and ban the play both locally and internationally, despite it being fully funded by Muhtaraf Baghdad al-Masrahi (Baghdad Theatre Studio), led by theatre artist Aziz Khayoun, without any external support. This example underscores that theatre, despite claims of democracy, often lacks real 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)