Synopsis:
Jhoda, based on Ganesh Rasik’s novel Akashgangako Otmuni, explores the struggle for land ownership and political manipulation of indigenous communities in eastern Nepal. The story follows Rupama, who uncovers how political parties exploited former soldiers to transfer land to the Jhoda, only to entangle them in a relentless political battle. The play highlights how native inhabitants were reduced to squatters, how political self-interest fractured their unity, and the enduring fight for their rightful land. Through a powerful narrative, Jhoda sheds light on the indigenous perspective and their resilience against systemic dispossession.
About the Director:
Based in Chulachuli, Ilam, Chetan Aangthupo has been deeply engaged in theatre since his early years, acting in Nepali plays from grade 9. Committed to developing theatre in his village, he began writing and directing plays in 2065, later founding Chulachuli Rangamanch. Trained at Mandala Theatre Nepal, he directed Mangena at NITFest 2065 and most recently Jhoda. Beyond black box theatre, he has successfully organized outdoor theatre festivals, integrating indigenous traditions and environmental themes. Known for highlighting underrepresented cultural narratives, Aangthupo is a prominent theatrical figure in Nepal’s eastern villages.
Director's Note:
I wanted to create a production about the Dhimal community, an indigenous group recognized by some local governments as the first people of their region. However, due to limited resources, I shifted my focus to Jhoda—forested land granted by the government to emigrants. My search led me to Aakash Gangako Oatmuni by Ganesh Rasik, a novel that intertwined history, folklore, and Nepal’s land struggles.
My grandfather once told me how he lost his land due to legal complications, a story that mirrors the plight of Jhoda’s inhabitants. From 2026 to 2033 BS, they were displaced, labeled squatters despite holding land ownership documents. In 2028 BS, the army fired upon them in Morang, marking a dark chapter in Nepal’s land history.
With a dedicated team, Jhoda took shape despite financial constraints. Staged in Damak and Shilpee Theatre, it now reaches Nepal International Theatre Festival. This production is a tribute to Ganesh Rasik, Ek Theatre Nepal, my team, and all who have supported this journey in shedding light on Nepal’s land injustices.
About the Group:
Chulachuli Theatre, established in 2070 in Ilam, is a dynamic theatrical institution dedicated to social transformation through theatre. The group has produced numerous black box and street plays, addressing social, cultural, and research-based themes. With a distinct approach to theatre, it has built a strong identity locally and internationally. The group has been organizing the school theatre festival in natural sites promoting biodiversity and eco-friendly movements. Registered under Ilam’s District Administration Office, the institution continues to nurture artists and bring meaningful narratives to the stage, making a lasting impact on the theatrical landscape of Nepal.
Cast and Crew:
On Stage:
Off Stage:
Contact Details:
Chulachuli Theatre, Ilam
Email: chulachulitheatre@gmail.com
Synopsis:
Playback Theatre is an interactive and improvisational form of theatre where audience members share personal stories, which actors and musicians instantly bring to life on stage. Founded in 1975 by Jonathan Fox and Jo Salas, this unique art form blends oral traditions, psychodrama, and communal storytelling to foster empathy, reflection, and connection. Now practiced in over 70 countries, it thrives in schools, workplaces, therapy, and community spaces, bridging cultural divides and sparking dialogue.
Our theme, Wisdom of Life, explores the lessons that shape us—some gentle, others transformative—each enriching our understanding of what it means to be human. By bringing personal narratives to the stage, we honor life’s complexity, celebrating both struggles and triumphs. In sharing stories, we create a space where every experience, no matter how big or small, resonates with others, reminding us of our shared journey toward meaning and growth.
About the Conductor:
Ingi Hopo Koinch Sunuwar is a visionary Nepali theatre artist known for his work as an actor, director, writer, facilitator, and designer. Since his acclaimed debut in JAAR: Bhayekai Euta Katha with Mandala Theatre in 2014, he has continually pushed creative boundaries. Founder of Mamaa Arts Pvt. Ltd. and co-founder of Phulbari Playback Theatre, his performances bridge cultures and inspire audiences worldwide. He has got advanced training on playback theatre with its co-founder Jonathan Fox. Through innovative storytelling and technical artistry, he continues to make a profound impact on global theatre.
Conductor's Note:
At Phulbari Playback Theatre, we believe every personal story holds a kernel of wisdom, waiting to be unearthed through the power of shared experience. Through this performance, we gather stories—of joy, heartbreak, intuition, love, and resilience—that encapsulate the myriad lessons life offers. Presenting our playback theatre performance at an international festival is more than just a show; it is an opportunity to embrace narratives from every corner of the globe. On this global stage, we anticipate stories that traverse diverse cultures, languages, and life experiences. Each narrative contributes a unique insight into the universal quest for meaning and connection. By inviting contributions from around the world, we celebrate a mosaic of human wisdom—stories that echo the shared emotions and challenges that bind us all. This enriching blend of experiences not only deepens our own understanding but also fosters a global dialogue on the complexities of the human condition. In essence, our performance becomes a living tapestry where every thread of personal history interweaves with another, highlighting that the lessons of life—be they easy, hard, intuitive, or steeped in love—are as diverse as the people who share them.
About the Group:
Phulbari Playback Theatre is a collective dedicated to celebrating the diversity of human experiences. Much like a garden that blooms with flowers of various colors and forms, our group seeks to embrace and portray stories from all walks of life, highlighting their unique authenticity and beauty. Through the art of Playback Theatre, we aim to create a safe, inclusive space where individuals can share their narratives and see them transformed into moving, improvisational performances. Phulbari Playback Theatre strives to foster connection, empathy, and understanding by bringing diverse voices together into a shared space.
Cast and Crew
Contact Details:
Synopsis:
The play presents interconnected stories by Sadat Hassan Manto, each examining the human condition in the face of conflict and survival. In the first story "Tamasha", a family is overwhelmed by war and flees in search of safety. "Ten Rupee" follows a child forced into prostitution, where a man's regretful transformation takes place after spending a day with her. "Smell" tells of a man haunted by a passionate night shared with a factory worker. In "The Hundred-Watt Power Bulb," a prostitute kills her relentless pimp in a desperate bid for rest. "The Rats of Shahdol" depicts a mother’s lifelong grief after losing her child, whom she had once abandoned. The play ends with "The Dog of Titwal," a tragic tale of a dog caught between two warring nations, rejected by both armies. Each story explores themes of loss, regret, and the enduring impact of conflict on the human spirit.
About the Director:
Neelam Mansingh Chowdhry holds a Master’s in the History of Arts and a diploma from the National School of Drama. She founded The Company in Chandigarh in 1984, after her work with The Rang Mandal in Bhopal. A former Chairperson of the Department of Indian Theatre at Panjab University, she is known for plays like Kitchen Katha, The Suit, Yerma, Nagamandala, and Hayavadana. Her work has been featured in major national and international festivals. She has received multiple honors, including the Sangeet Natak Akademi Award (2003) and the Padma Shri (2011). Dr. Chowdhry is currently Professor Emeritus at Panjab University.
Directors' Note:
In rehearsal, two groups of actors from different cultural and linguistic backgrounds tentatively meet, facing the challenge of navigating an unfamiliar language and performance style. As Punjabi directors, Vansh Bhardwaj and I found ourselves confronted by the complexities of working with Malayalam, a language foreign to both of us. Despite the language barrier, we began collaborating with young actors from Kerala on a production based on Saadat Hasan Manto’s stories, which delve into themes of loss, grief, gender politics, and societal hypocrisy. Manto’s unapologetic, disruptive narratives challenge societal norms, addressing issues like misogyny and disparity.
With no definitive script, we selected stories like Tamasha, Ten Rupees, Smell, and The Dog of Titwal—fragments of Manto’s work that the actors helped shape through improvisation. I’ve always valued the rehearsal process over the final product, and in this unstructured approach, uncertainty created space for exploration and collaboration. Manto’s stories, often set against the backdrop of Partition, resonate with both personal and collective histories, especially for those living on society’s margins.
Manto’s work transcends borders, both physical and emotional, defying the artificial divisions of nations. In today’s world, fraught with conflict and prejudice, his stories are a reminder of the power of shared humanity and the need for empathy. Through Manto, we explore the resilience to rebuild, and the enduring hope in the face of destruction.
About the Group:
CULT (Calicut University Little Theatre) is the dynamic repertory of the Department of Theatre at Calicut University, bringing vibrant, thought-provoking performances to life. Each year, the theatre group produces a diverse range of plays, engaging local communities and showcasing their work at prestigious festivals. With a strong involvement of alumni, CULT blends fresh talent with seasoned experience, creating performances that resonate with audiences of all kinds. The department continues to push the boundaries of creativity, expanding its annual lineup and solidifying CULT’s reputation as a cultural hub for innovation and expression.
Cast and Crew:
On Stage:
Off Stage:
Contact Details:
Synopsis:
The play presents interconnected stories by Sadat Hassan Manto, each examining the human condition in the face of conflict and survival. In the first story "Tamasha", a family is overwhelmed by war and flees in search of safety. "Ten Rupee" follows a child forced into prostitution, where a man's regretful transformation takes place after spending a day with her. "Smell" tells of a man haunted by a passionate night shared with a factory worker. In "The Hundred-Watt Power Bulb," a prostitute kills her relentless pimp in a desperate bid for rest. "The Rats of Shahdol" depicts a mother’s lifelong grief after losing her child, whom she had once abandoned. The play ends with "The Dog of Titwal," a tragic tale of a dog caught between two warring nations, rejected by both armies. Each story explores themes of loss, regret, and the enduring impact of conflict on the human spirit.
About the Director:
Neelam Mansingh Chowdhry holds a Master’s in the History of Arts and a diploma from the National School of Drama. She founded The Company in Chandigarh in 1984, after her work with The Rang Mandal in Bhopal. A former Chairperson of the Department of Indian Theatre at Panjab University, she is known for plays like Kitchen Katha, The Suit, Yerma, Nagamandala, and Hayavadana. Her work has been featured in major national and international festivals. She has received multiple honors, including the Sangeet Natak Akademi Award (2003) and the Padma Shri (2011). Dr. Chowdhry is currently Professor Emeritus at Panjab University.
Directors' Note:
In rehearsal, two groups of actors from different cultural and linguistic backgrounds tentatively meet, facing the challenge of navigating an unfamiliar language and performance style. As Punjabi directors, Vansh Bhardwaj and I found ourselves confronted by the complexities of working with Malayalam, a language foreign to both of us. Despite the language barrier, we began collaborating with young actors from Kerala on a production based on Saadat Hasan Manto’s stories, which delve into themes of loss, grief, gender politics, and societal hypocrisy. Manto’s unapologetic, disruptive narratives challenge societal norms, addressing issues like misogyny and disparity.
With no definitive script, we selected stories like Tamasha, Ten Rupees, Smell, and The Dog of Titwal—fragments of Manto’s work that the actors helped shape through improvisation. I’ve always valued the rehearsal process over the final product, and in this unstructured approach, uncertainty created space for exploration and collaboration. Manto’s stories, often set against the backdrop of Partition, resonate with both personal and collective histories, especially for those living on society’s margins.
Manto’s work transcends borders, both physical and emotional, defying the artificial divisions of nations. In today’s world, fraught with conflict and prejudice, his stories are a reminder of the power of shared humanity and the need for empathy. Through Manto, we explore the resilience to rebuild, and the enduring hope in the face of destruction.
About the Group:
CULT (Calicut University Little Theatre) is the dynamic repertory of the Department of Theatre at Calicut University, bringing vibrant, thought-provoking performances to life. Each year, the theatre group produces a diverse range of plays, engaging local communities and showcasing their work at prestigious festivals. With a strong involvement of alumni, CULT blends fresh talent with seasoned experience, creating performances that resonate with audiences of all kinds. The department continues to push the boundaries of creativity, expanding its annual lineup and solidifying CULT’s reputation as a cultural hub for innovation and expression.
Cast and Crew:
On Stage:
Off Stage:
Contact Details:
Synopsis:
Arrived is a street theatre play inspired by immigrants who, after arriving in a new place, begin to create a fresh and surprising sense of "home." These characters, arriving from a not-so-distant past, view the present world through unique, often humorous eyes. As they interact with passers-by, they create absurd and surreal situations that provoke laughter and surprise. The music emerging from their suitcases is the only clue to their origins. Engaging the audience as part of the performance, Arrived is a celebration of the joy of returning and a poignant exploration of rebuilding a society based on togetherness.
About the Director:
Adrian Schvarzstein, based in Barcelona, is a multi-national artist with extensive experience across Europe. With a background as a comedian, stage director for classical music and opera, and in circus and street theatre, he specializes in blending various artistic disciplines into unique, surprising productions. His notable work includes creating Circus Klezmer, which toured for 12 years, and directing street theatre shows like The Greenman and Arrived or Sweet Home on Wheels. Recently, he directed Mozart’s operas and collaborated with ART HOUSE17 from Graz on diverse musical projects. His artistic vision is centered on engaging and emotionally moving audiences, using chaos, surprise, and provocative innocence. His productions have been showcased in over 70 countries worldwide.
Directors' Note:
For many years, I’ve seen that theatre needs to reach audiences in unconventional places and tell universal stories that don’t rely on words. That’s why I chose to develop a unique language for street theatre—one that is highly interactive and suitable for all audiences. After nearly 30 years of touring, I can say that we’ve performed in over 70 countries, and there’s one thing that’s common to all people in this world: laughter.
About the Group:
Adrian Schvarzstein and Jurate Sirvyte are a duo of theatre artists who began their collaboration in 2015 with an opera in Lithuania, later creating the show Arrived during an artistic residency in Sri Lanka. With extensive experience in opera productions, orchestral concerts, theatre shows, and special projects, they have worked in over 25 countries worldwide. Their goal is to offer audiences a strong and clear theatre experience, fostering direct connection and inspiring new thoughts on how to engage the public with live performance.
Cast and Crew:
On and Off Stage:
Adrian Schvarzstein and Jurate Sirvyte
Contact Details:
Synopsis:
Arrived is a street theatre play inspired by immigrants who, after arriving in a new place, begin to create a fresh and surprising sense of "home." These characters, arriving from a not-so-distant past, view the present world through unique, often humorous eyes. As they interact with passers-by, they create absurd and surreal situations that provoke laughter and surprise. The music emerging from their suitcases is the only clue to their origins. Engaging the audience as part of the performance, Arrived is a celebration of the joy of returning and a poignant exploration of rebuilding a society based on togetherness.
About the Director:
Adrian Schvarzstein, based in Barcelona, is a multi-national artist with extensive experience across Europe. With a background as a comedian, stage director for classical music and opera, and in circus and street theatre, he specializes in blending various artistic disciplines into unique, surprising productions. His notable work includes creating Circus Klezmer, which toured for 12 years, and directing street theatre shows like The Greenman and Arrived or Sweet Home on Wheels. Recently, he directed Mozart’s operas and collaborated with ART HOUSE17 from Graz on diverse musical projects. His artistic vision is centered on engaging and emotionally moving audiences, using chaos, surprise, and provocative innocence. His productions have been showcased in over 70 countries worldwide.
Directors' Note:
For many years, I’ve seen that theatre needs to reach audiences in unconventional places and tell universal stories that don’t rely on words. That’s why I chose to develop a unique language for street theatre—one that is highly interactive and suitable for all audiences. After nearly 30 years of touring, I can say that we’ve performed in over 70 countries, and there’s one thing that’s common to all people in this world: laughter.
About the Group:
Adrian Schvarzstein and Jurate Sirvyte are a duo of theatre artists who began their collaboration in 2015 with an opera in Lithuania, later creating the show Arrived during an artistic residency in Sri Lanka. With extensive experience in opera productions, orchestral concerts, theatre shows, and special projects, they have worked in over 25 countries worldwide. Their goal is to offer audiences a strong and clear theatre experience, fostering direct connection and inspiring new thoughts on how to engage the public with live performance.
Cast and Crew:
On and Off Stage:
Adrian Schvarzstein and Jurate Sirvyte
Contact Details:
Synopsis:
The performance opens with the mythological romance of Zhong Kui Marrying His Sister, where flame-spouting rituals and shapeshifting choreography create an enchanting atmosphere. The poignant drama The Fourth Son Visits His Mother follows, unveiling heart-wrenching emotions through the rhythmic head-swinging (Shaozi Gong) technique. Other highlights include Praying for Justice from Sea God Temple, a haunting tale of betrayal and hallucination expressed through flowing water-sleeve dances, and Lin Chong’s Night Run, a gripping escape scene that demands both acrobatic skill and vocal precision. This captivating gala performance immerses audiences in the vibrant world of Shanxi Jinju Opera, a national intangible cultural heritage renowned for its soul-stirring vocals, intricate costumes, and dynamic stage techniques. The program features nine iconic episodes from both classic and contemporary Jinju repertoire, each showcasing the genre's rich cultural legacy.
(The evening performance of this play will be followed by an interaction session with officials from International Theatre Institute, China and China Theatre Association)
About the Team Leader:
Tao Chen, National First-Class Performance Supervisor and Chairman of the Taiyuan Theatre Association, has dedicated over 45 years to advancing Jinju (Opera). As a former Director of the Taiyuan Experimental Jinju Youth Troupe and Vice President of the Taiyuan Experimental Jinju Theatre, he modernized traditional opera through contemporary aesthetics.
He has produced 50+ acclaimed works, including Fu Shan's Imperial Audience (87 honors, listed among China's Top 10 Stage Art Classics), Yu Chenglong, and Fan Zhongju's Success. His productions have toured three continents, expanding Jinju’s global presence. Honored with the Best Producer award at the National Theatre Culture Awards and recognized as an Outstanding Art Creator, Tao Chen has pioneered youth development programs to ensure Jinju's future. His visionary leadership continues to drive the innovative transformation of Chinese traditional opera on both national and international stages.
Team Leader's Note:
Jin Opera Gala: A Timeless Journey Through Chinese Tradition
This curated performance presents nine iconic Jinju excerpts, blending mythical legends, history, and folklore to highlight the genre’s unique artistry. Zhong Kui Marries Off His Sister stuns with fire-spitting and shape-shifting choreography, while Fourth Son Visits His Mother captures wartime sorrow with intricate hair techniques. Pleading at the Temple enchants with flowing water sleeves, and Lin Chong’s Midnight Escape balances martial skill with deep emotion.
Other highlights include the darkly humorous Capturing Sanlang, the silent combat comedy Crossroads, and Xu Ce Rushes to the City, where hat-wing and beard techniques bring an elder’s triumph to life. A Banquet showcases feathered headdress artistry in Lü Bu’s flirtation with Diaochan, while Flooding Jinshan Temple delivers a breathtaking mythical battle.
Merging tradition with modern vitality, this gala celebrates timeless Chinese values—loyalty, justice, and karma—through masterful performance and visual spectacle.
About the Group:
This state-owned troupe, recognized as a national-level intangible cultural heritage unit, focuses on the research, preservation, and innovation of Jinju Opera. With award-winning artists, including Second Plum Blossom laureate Xie Tao, and a repertoire of over 100 plays, they blend tradition with modernity. Their productions, such as Three Passes Point Handsome and Fu Shan Goes to Beijing, have earned national honors and support. The troupe stages over 500 shows annually across China and internationally, with notable recognition like the May Day Labor Award. Their mission is to preserve Jinju Opera while creating culturally significant works for global audiences
Cast and Crew
On Stage
Off Stage:
Contact Details:
Mr. Wang Ling
Synopsis:
The performance opens with the mythological romance of Zhong Kui Marrying His Sister, where flame-spouting rituals and shapeshifting choreography create an enchanting atmosphere. The poignant drama The Fourth Son Visits His Mother follows, unveiling heart-wrenching emotions through the rhythmic head-swinging (Shaozi Gong) technique. Other highlights include Praying for Justice from Sea God Temple, a haunting tale of betrayal and hallucination expressed through flowing water-sleeve dances, and Lin Chong’s Night Run, a gripping escape scene that demands both acrobatic skill and vocal precision. This captivating gala performance immerses audiences in the vibrant world of Shanxi Jinju Opera, a national intangible cultural heritage renowned for its soul-stirring vocals, intricate costumes, and dynamic stage techniques. The program features nine iconic episodes from both classic and contemporary Jinju repertoire, each showcasing the genre's rich cultural legacy.
About the Team Leader:
Tao Chen, National First-Class Performance Supervisor and Chairman of the Taiyuan Theatre Association, has dedicated over 45 years to advancing Jinju (Opera). As a former Director of the Taiyuan Experimental Jinju Youth Troupe and Vice President of the Taiyuan Experimental Jinju Theatre, he modernized traditional opera through contemporary aesthetics.
He has produced 50+ acclaimed works, including Fu Shan's Imperial Audience (87 honors, listed among China's Top 10 Stage Art Classics), Yu Chenglong, and Fan Zhongju's Success. His productions have toured three continents, expanding Jinju’s global presence. Honored with the Best Producer award at the National Theatre Culture Awards and recognized as an Outstanding Art Creator, Tao Chen has pioneered youth development programs to ensure Jinju's future. His visionary leadership continues to drive the innovative transformation of Chinese traditional opera on both national and international stages.
Team Leader's Note:
Jin Opera Gala: A Timeless Journey Through Chinese Tradition
This curated performance presents nine iconic Jinju excerpts, blending mythical legends, history, and folklore to highlight the genre’s unique artistry. Zhong Kui Marries Off His Sister stuns with fire-spitting and shape-shifting choreography, while Fourth Son Visits His Mother captures wartime sorrow with intricate hair techniques. Pleading at the Temple enchants with flowing water sleeves, and Lin Chong’s Midnight Escape balances martial skill with deep emotion.
Other highlights include the darkly humorous Capturing Sanlang, the silent combat comedy Crossroads, and Xu Ce Rushes to the City, where hat-wing and beard techniques bring an elder’s triumph to life. A Banquet showcases feathered headdress artistry in Lü Bu’s flirtation with Diaochan, while Flooding Jinshan Temple delivers a breathtaking mythical battle.
Merging tradition with modern vitality, this gala celebrates timeless Chinese values—loyalty, justice, and karma—through masterful performance and visual spectacle.
About the Group:
This state-owned troupe, recognized as a national-level intangible cultural heritage unit, focuses on the research, preservation, and innovation of Jinju Opera. With award-winning artists, including Second Plum Blossom laureate Xie Tao, and a repertoire of over 100 plays, they blend tradition with modernity. Their productions, such as Three Passes Point Handsome and Fu Shan Goes to Beijing, have earned national honors and support. The troupe stages over 500 shows annually across China and internationally, with notable recognition like the May Day Labor Award. Their mission is to preserve Jinju Opera while creating culturally significant works for global audiences
Cast and Crew
On Stage
Off Stage:
Contact Details:
Mr. Wang Ling
Synopsis:
This solo psychological drama delves into the internal struggles of a character who confronts a repressed dimension of his own personality. Initially in conflict, these two aspects of himself gradually move toward understanding, acceptance, and coexistence. As equilibrium is reached, the sudden arrival of a third presence—symbolizing yet another layer of his subconscious—triggers a moment of surprise and transformation, deepening the exploration of identity and self-knowledge.
About the Director:
Ahmad Naddafi is an accomplished theater director and actor, in addition to his work in cinema. His stage productions focus on social, human, and cultural themes, blending artistic innovation with personal experience to offer audiences deeper conceptual explorations. His creative approach has earned him recognition in the theater world. Beyond directing and writing, Naddafi has participated in national and international festivals, representing Iran at events in Karachi, Moscow, Muscat, and beyond.
Director's Words:
Psychological theater is a genre of drama that focuses on the representation of mental dimensions, internal conflicts, and psychological processes of the characters instead of linear and conventional narrative. This type of theater, in fact, turns the stage into a platform for visualizing inner thoughts, feelings, and conflicts. Characters can symbolize different parts of a person's mind, identity, or unconscious, and the interaction between them is more than just a simple conversation, but a representation of the cognitive and emotional processes of the human mind.
In this type of drama, external reality is usually shattered and replaced by mental, dreamy, and sometimes abstract spaces. Characters may contradict themselves, change in different ways, or discover new dimensions of themselves during the performance. One of the main goals of this theater is to invite the audience to an inner journey—a journey in which one is encouraged to confront the invisible parts of one's psyche.
Ultimately, psychological theater is not just a story, but a mental and emotional experience that challenges the audience to look within themselves.
About the Group:
The Petoaj Art Group, founded in 2002 by Ahmad Nadafi, is a leading Iranian theatre group active in directing, acting, and festival participation. It annually trains students at the School of Performing Arts, with their performances reaching top national festivals. Internationally, the group has performed in Moscow and Karachi. Nadafi, a renowned writer, director, professor, and festival judge, has won multiple awards and plays a key role in Iran’s Fajr Festival. Petoaj also organizes theatre festivals and has presented notable works like My Sister Is Ismaneh, Regal, and Mr. X at prestigious Iranian festivals.
Cast and Crew:
Cast: Alireza Zare and Younes Abolmasoumi
Third and Behind the Scenes Actor: Ali Asal
Contact Details:
Iran, Yazd, Yazd, Farhangian Crossroads to Iranshahr Inside Crossroads, Sahneh School of Performing Arts
Company Phone : +98 37267799
Email: alirezazare379.gmail.com
Synopsis:
This solo psychological drama delves into the internal struggles of a character who confronts a repressed dimension of his own personality. Initially in conflict, these two aspects of himself gradually move toward understanding, acceptance, and coexistence. As equilibrium is reached, the sudden arrival of a third presence—symbolizing yet another layer of his subconscious—triggers a moment of surprise and transformation, deepening the exploration of identity and self-knowledge.
About the Director:
Ahmad Naddafi is an accomplished theater director and actor, in addition to his work in cinema. His stage productions focus on social, human, and cultural themes, blending artistic innovation with personal experience to offer audiences deeper conceptual explorations. His creative approach has earned him recognition in the theater world. Beyond directing and writing, Naddafi has participated in national and international festivals, representing Iran at events in Karachi, Moscow, Muscat, and beyond.
Director's Words:
Psychological theater is a genre of drama that focuses on the representation of mental dimensions, internal conflicts, and psychological processes of the characters instead of linear and conventional narrative. This type of theater, in fact, turns the stage into a platform for visualizing inner thoughts, feelings, and conflicts. Characters can symbolize different parts of a person's mind, identity, or unconscious, and the interaction between them is more than just a simple conversation, but a representation of the cognitive and emotional processes of the human mind.
In this type of drama, external reality is usually shattered and replaced by mental, dreamy, and sometimes abstract spaces. Characters may contradict themselves, change in different ways, or discover new dimensions of themselves during the performance. One of the main goals of this theater is to invite the audience to an inner journey—a journey in which one is encouraged to confront the invisible parts of one's psyche.
Ultimately, psychological theater is not just a story, but a mental and emotional experience that challenges the audience to look within themselves.
About the Group:
The Petoaj Art Group, founded in 2002 by Ahmad Nadafi, is a leading Iranian theatre group active in directing, acting, and festival participation. It annually trains students at the School of Performing Arts, with their performances reaching top national festivals. Internationally, the group has performed in Moscow and Karachi. Nadafi, a renowned writer, director, professor, and festival judge, has won multiple awards and plays a key role in Iran’s Fajr Festival. Petoaj also organizes theatre festivals and has presented notable works like My Sister Is Ismaneh, Regal, and Mr. X at prestigious Iranian festivals.
Cast and Crew:
Cast: Alireza Zare and Younes Abolmasoumi
Third and Behind the Scenes Actor: Ali Asal
Contact Details:
Iran, Yazd, Yazd, Farhangian Crossroads to Iranshahr Inside Crossroads, Sahneh School of Performing Arts
Company Phone : +98 37267799
Email: alirezazare379.gmail.com
