Disco No.5

Disco No.5 has been performed by Mirza Metin from Destar Theatre about the torture of Kurdish political prisoners in Diyarbakır Military Prison after military coup in Turkey (1980). The performance has been based on memories, books, documentaries and interviews about that period. In that one-act play the actor performed a spider, a rat, a dog, a prisoner and a jailkeeper by getting reality and fiction together. The characters/actions of the play have referred to reality of that period by fictioning. The group described their play as “confrontation plays”. Always welcomed with great admiration the play won “the best solo performance of the year”, “the actor of the year”, “the best performance of the year” awards.

Born in 1361

Born in 1361 portrays the life of a girl born in 1982 (the Iranian year 1361) through ages of 6, 13, 22, and 28 until her death. The play is a monologue in several episodes describing the sociopolitical challenges in Iran that affected the life of Nava and her generation. The play starts from the viewpoint of a fetus in her mother’s womb, describing how it has conceived to her still born twin sister and being born under the air raids during the Iran-Iraq war. Nava continues to grow to a young girl, discovering social contrasts in her life, and then witnessing limitations of the society and the sociopolitical changes of the 90s, adulthood and marriage, facing the post-election events in the 2009 that eventually leads her to illegal immigrate by boat and being drowned. The first production of Born in 1361 was performed with an all-female cast. Each actress portrayed a different episode from the life of the female character.


Handala is a play that I wrote based on the cartoons of Naji Al-Ali. I am inspired by his work throughout the years before his assassination in London in 1987, and the life that his cartoons still have after his death. As
a writer, I also identify with the symbol of Handala, as it represents the continuation of struggle and resistance against the illegal Occupation. I call active, unarmed resistance “beautiful resistance,” and that is what Naji Al-Ali engaged in: beautiful resistance. I felt it was important to adapt his cartoons for the stage because they are still very relevant. There is so much false history that works to wash the truth of our memories away. Naji Al-Ali, the artist, is an important role model for the continuing commitment to human rights and values. Al-Ali’s creation, Handala, which is often humorous, represents the guardian of these same rights and values. I think that the cartoons of Handala are an intelligent and anguished cry against all the compromises and degradation of our values and rights. Handala’s spirit creates space for crushed people to speak, and to challenge the politicians and merchants of rights and values. Handala is also a vehicle through which we can reclaim our true histories.


This text confront us with the simple questions about war, power and freedom- about our life under the daily violence, destroying the humanity and the future.

The Cart

A simple man named Hanoon possesses only his vegetable cart  (arabana), with which he earns his livelihood on the streets of Baghdad.  His obsession with the news provokes constant anxiety. The play starts as Hanoon’s wife, Fedhila, and their children, prevent the drunken vendor from setting himself on fire. Shortly thereafter, he dies of a heart attack in his sleep. Hanoon anticipates a conversation with Munkar and Nakir, the two angels appointed by God to interrogate the dead in order to test their faith and assess their deeds. Hanoon’s life plays out before his eyes. Back in school, he argues with his teacher about the truthfulness of certain proverbs and the meaning of the words ‘house/home’. In the military, he is humiliated at the hands of a sergeant. Later, a politician in the post-Saddam era tricks Hanoon into voting for him with empty promises, then disappears. Afterwards, Fedhila goes to meet with the politician (whose name translates as “whatever you want”), but he escapes out the back door. These episodes are followed by the appearance of Bouazizi, the Tunisian street vendor whose self-immolation started the revolution in Tunisia, which then spread to other Arab countries., He talks with Hanoon about their deaths and the deteriorating situation in Tunisia and Iraq. At the end, both Hanoon and Bouazizi exit, leaving Fedhila pushing the cart with her four children. The play ends with the sound of an explosion followed by that of the squeaking cart.