Numerous Egyptian and international theatre plays took part in the inaugural edition of Eazees International Festival for Women’s Theatre which concluded its activities last week.

The large selection of the plays gave the viewers an opportunity to submerge into women’s creativity in theatre, whether they are directing or performing in the play.

The festival opened with Baheya, a dance performance by Forsan Al-Sharq Heritage Company, directed and choreographed by Karima Bedeir.

The following performances included Egyptian entries such as Carmen by Reem Hegab, Moftah Shohra by Doaa Hamza, Here is Cairo by Rasha Algamal, Hamlethon by Sadaa Eldaas, The Last Journey by Reem Amer, Lonely Woman by Menna Maher and The Kitchen by Mohammed Adel.

The international entries featured Another Sky (Morocco), Lady M (The Netherlands), Passage (Germany and Brazil), Kandata (Japan), Road (Russia), Bird Cage (Jordan), The Last Time (Tunisia), Frida’s Wings to Fly (Romania – online performance), and Queen (Syria).

The festival also held numerous seminars and workshops tackling the art of acting and discussing presence and role of women in the international theatrical movement.

The first edition of the festival took place between 15 and 21 September honouring the name of late Egyptian playwright and activist Fathia El-Assal (1933-2014).

The festival was originally planned to take place between 23 and 29 March 2020, but was postponed due to the COVID-19 pandemic.

The festival is presided over by actress Abeer Lotfy, and director Abeer Aly and theatre critic Rasha Abdel-Moneim are the festival’s directors. The festival is supported by Egypt’s Ministry of Culture.

In its inaugural edition, the festival’s honorary president is Egypt’s renowned actress Sawsan Badr.

The festival, to be held annually, is focused on stage plays with a key interest in women’s issues.

This article was originally published by Ahram Online on September 26, 2021, and has been reposted with permission. To read the original article, click here.

This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.

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