Face of Truth: Theatre… From Spectatorship to Action

Ibrahim Shaglawy

The world celebrates World Theatre Day on March 27 each year, where it is customary to select a prominent theatre figure to write a message that is circulated to theatrical institutions. In Sudan, Professor Saad Yousif Obeid, playwright and former dean of the College of Music and Drama, delivered the celebration’s speech at the Cultural Center in Omdurman, affirming that theatre has never been merely a performance, but a space for societal awareness, resistance, and a bridge for cultural and social cohesion.

The celebration was attended by the Governor of Khartoum, Ahmed Othman Hamza, the Federal Undersecretary of the Ministry of Culture, Information and Tourism, Dr. Graham Abdelgadir, the Minister of Culture, Information and Tourism of Khartoum State, Mr. Al-Tayeb Saad, the Executive Director of Omdurman Locality, Mr. Saif Al-Din Mukhtar, along with the representative of the Governor of the Darfur Region, Eng. Omar Bakhit, and the Theatre Reconstruction Group represented by Dr. Tareq Al-Bahr.

Although it would have been more appropriate for the celebration to be held at the National Theatre in Omdurman, given the symbolic cultural and historical significance of the venue, which is fully prepared for such an event.

Celebrating World Theatre Day at this time is not limited to being a cultural occasion; it extends to social and political implications. It places theatre in Sudan before a historical responsibility that transcends the boundaries of aesthetic spectatorship to reach ethical responsibility, enabling it to perform its true role as an active force in shaping awareness and contributing to the project of rebuilding the state after the repercussions of war.

Invoking theatre at this moment carries multiple connotations. A state that reopens its cultural platforms and revives theatre is sending a message in two directions: internally, that public life has not collapsed despite the war; and externally, that Sudan is still capable of producing its cultural discourse and presenting itself as a civilizational actor. However, this message, despite its importance, remains incomplete unless it transforms from a celebratory discourse into an integrated awareness project.

Historically, Sudanese theatre has not been merely a platform for entertainment, but a tool of resistance and a space for shaping collective consciousness. In confronting British colonialism, it contributed to mobilizing the masses and achieving independence. In later periods, particularly during the May era, it became a mirror reflecting the transformations and contradictions of power.

That period, despite its complexities, proved that the flourishing of theatre is not only linked to freedoms or resources, but to the artist’s sense of responsibility toward their society.

However, the current reality reveals a striking paradox: an official celebration of theatre met with an actual decline in its role. Infrastructure is fragile, funding is limited, talents are leaving, and the national cultural project is nearly absent. Here, the question shifts from “Where does theatre stand?” to “What is its place within the state’s vision?”

It is well known that in the aftermath of war, the importance of theatre doubles as an effective tool in addressing the public. Societies emerging from conflicts need instruments that rebuild trust, restore memory, and prevent slipping into division. Theatre, with its capacity for interaction, is well positioned to play this role.

Yet this role will not be realized without redefining its function: from a “theatre of spectatorship” that merely presents pain, to a “theatre of action” that contributes to interpreting and deconstructing it. From a platform of entertainment to a tool of critique and accountability. From a seasonal activity to a national project.

To achieve this, three parallel tracks are required: first, rebuilding infrastructure, including theatres, colleges, and training programs. Second, stimulating theatrical production connected to real issues, away from stereotypical patterns. Third, restoring the role of the intellectual as an active participant in social and political transformation, not merely an observer.

Reviving classic works or reproducing them represents an important step in restoring memory, but it is not enough. The real challenge lies in producing new works that reflect the complexities of reality and its challenges, and address an audience whose tools and interests have changed.

The greatest danger facing theatre today is not the lack of resources, but the absence of vision. Countries emerging from wars do not rebuild buildings first; they begin by rebuilding ideas. Here, theatre can play a decisive role in “re-engineering awareness,” if it is integrated into a national project that links culture with politics and development.

Restoring this role also requires reconciliation between generations of theatre practitioners, bringing together the experience of pioneers with the boldness and ambition of youth. Without this convergence, theatre will remain suspended between a glorified past, a troubled present, and a deferred future.

In conclusion, it can be said that Sudan today stands at a cultural crossroads no less important than its security and political ones. Either theatre remains merely a decorative element in the state’s scene, or it transforms into one of the tools for reshaping it. Between spectatorship and action, the value of theatre is determined not by what is presented on its stage, but by what it creates in the consciousness of the nation.

Wishing you continued well-being.

Monday, March 30, 2026

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