Rabia Khris
Algiers -Algerian theatre has long served as a mirror reflecting the social and cultural transformations the country has undergone over the decades. Women’s presence on stage has remained a contentious issue, oscillating between rejection and acceptance, and between inherited traditions and aspirations for liberation and creative expression.

A glance at the theatrical productions presented during the 18th National Professional Theatre Festival, which opened on December 22 and concluded on January 1, is enough to reveal this reality—particularly the play “Five Women and a Cart”, which tells the story of five women who lived in isolation from the world for seven and a half years. These performances demonstrate that women’s presence on stage has seen tangible improvement, although some inherited social constraints still influence it in certain regions.

If we look back to the early decades of the twentieth century, we encounter a striking paradox: the nascent Algerian theatre faced immense difficulties in attracting women and encouraging their participation. This was confirmed by Allalou—whose real name was Ali Sellali—one of the pioneers of the Algerian theatrical movement. In one of his memoirs, he stated that “the lack of female performers we needed at the time was an acute problem, as there were absolutely no women acting,” noting that men were often forced to play women’s roles because conservative society rejected women’s appearance on stage.

Over time, slow but significant changes took place, and pioneering actresses began to emerge, such as the Algerian actress Marie Suzanne, the theatre actress Aïcha Djory—known as “Kalthoum,” the first Arab star to walk the red carpet at the Cannes Film Festival—and Nouria Kazdarli, whose real name was Khadija Ben Aïda, one of the most iconic figures in Algerian theatre.

Another significant milestone was the establishment of the National Liberation Front’s artistic troupe in Tunisia in 1958, which played a prominent role in cultural and popular diplomacy. Among its most notable works were “Sons of the Casbah,” “The Immortals,” “Towards the Light,” and “The Blood of the Free.” The acting troupe included only two women among fifteen men—Roqia Deri and Malika Ibrahimi—underscoring the immense challenges women faced in entering the field of acting due to social traditions and preconceived notions that confined women’s roles.

This situation persisted until the establishment of the School of Dramatic Arts in 1964, which later became the National Institute of Dramatic Arts and Choreography. During this period, efforts were made to attract Algerian women to theatre, most notably through the artist Sonia, who presented numerous plays addressing the social challenges faced by women, such as discrimination, violence, and the pressure of balancing work and family roles. Among her works were “Fatima” and “Until When,” two plays that can be classified as distinctly feminist theatre. This modest presence extended beyond acting and directing to include playwriting as well.

Liberation and the Renewal of Physical Energy

Among emerging voices, the experience of young actress Zineb Mouda stands out. Drawn by chance and passion into a world she had not previously planned for, theatre became an integral part of her journey toward self-discovery and skill development.

Speaking about her entry into theatre, Mouda—who is in her mid-teens, specializes in performance arts on the regional theatre stage, holds a technical background in urban planning, and is a graduate of the Higher Institute in Biskra—said that theatre was never something she consciously aspired to. However, it had always been part of her childhood imagination of her future self.

She explained that her entry into this world was purely coincidental and unplanned: “I entered the world of theatre by chance through a media project I was preparing with a friend from the artistic community. He suggested that I participate, and I agreed. I never imagined I would be accepted into the training course, and I have absolutely no regrets about the experience.”

She believes that theatre was never her sole gateway to absolute freedom, though she acknowledges that it may be so for others. “For me, it is a place where I release energy I keep suppressed and gain new energy the moment I step onto the stage,” she said.

Misconceptions About Theatre

Regarding the current presence of Algerian women on stage, Mouda described it as a form of “sacrifice,” noting that while acting itself may be easy, many women struggle to balance their multiple roles as mothers in real life and actresses on stage. Although feminist theatrical texts are present today and capable of competing at all levels—from writing to directing—they continue to suffer from historical and socio-cultural factors tied to the nature of Algerian society.

She concluded by emphasizing that some families in certain regions still view theatre as an unsuitable space for women, out of fear of shame or concern for reputation—a perception she considers deeply flawed. Theatre, she stressed, is not a single, monolithic form but encompasses diverse genres with varying content, styles, and structures. These include children’s theatre, which aims to educate and nurture young audiences through entertaining performances; silent theatre, which relies on physical movement and gestures rather than spoken language; and documentary theatre, which delivers informative and awareness-raising content.