The birth of modern Arabic theater dates back to 1848 in Syria, within the confines of the Ottoman Empire. However, due to the pursuit of better circumstances and a more tolerant political environment, theatrical endeavors found fertile ground in Egypt, attracting premier playwrights and actors. Notably, actresses, predominantly of Jewish and Christian descent, were now afforded opportunities to appear on stage. Egypt’s formal modern introduction to theater occurred during Napoleon’s incursion into the region. Within Napoleon’s retinue, artists staged French-language plays, primarily aimed at entertaining French officers.

A closer examination of theater in North Africa reveals a prevalence of European works in Tunisia before its independence, mainly showcased through translations and adaptations.

The official inception of cinema in Algeria dates back to the 1920s. Before the outbreak of World War I, Algerian theater had two main forms: Karagöz shadow puppetry and Faslun Mudhik, a comedy originating in Egypt.

Scholars investigating the origins and evolution of Sudanese theater argue that the art form manifested following Sudan’s interaction with the Egyptian, Syrian, Lebanese, and British cultures.

In 1880, interest in theater burgeoned in Sudan, with a performance of a segment from Makamatu’l-Harîrî by Muhammed el-Cidâvî and his two students during school activities. One argument posits that the Sudanese encountered theater in 1899 through the production of a theater show known as “Et-Tâtû,” which depicted the defeat of the Mahdist forces by the British in the Battle of Kerreri in 1898. 

Schools have played a pivotal role in fostering the development of theater in Sudan. The nascent seeds of theater were sown within school premises, with institutions hosting and fostering the earliest theatrical endeavors until they reached broader audiences.

Gordon Memorial College, presently known as the University of Khartoum, has been instrumental in sustaining theatrical activities since 1913. Students at Gordon College staged their inaugural plays in 1913 independently; they had set up theater outside the walls of the college with proceeds directed toward social and national causes such as the construction of schools and shelters.

After these years, the epicenter of school theater activities shifted to Ma‘hadu Bahti’rRidâ, where Sudanese and foreign educators spearheaded theatrical efforts. These teachers were in close contact with theater during their education abroad and showed interest in theater particularly those with exposure to theater during their studies abroad, notably in England.

The theater activities of the ‘Ma‘hadu Bahti’er-Ridâ’da have made significant progress thanks to knowledgeable instructors. These teachers not only engaged in original writing, translation and acting but also introduced students to the history of theater, its pioneers and prominent playwrights. While the primary goal of this school is to train elementary school teachers, graduates have greatly contributed to the promotion of theater across various regions of Sudan.

In addition to Sudanese schools, some foreign schools, such as Medâresu’l-İrsâliyyât/ Missionary Schools and Medâresu’l-Bi’seti’t-Ta’lîmiyyeti’l-Mısriyye showed an interest in theater and did not remain indifferent. Although the number of missionary schools was limited, they contributed to the spread of theater.

The dedication of Medârisu’l-Bi‘seti’t-Ta‘lîmiyyeti’l-Mısriyye to theater was profound, particularly in its focus on comedy. Renowned figures among its faculty included important names such as Emîn el-Henîdî (1925-1986), Muhammed Ahmed el-Mısrî (1924-2003) and Sa’îd Hişmet (1920-2013).

Theater found its way into Sudan through individuals and groups migrating from Syria and Egypt, particularly those relocating for trade or governmental duties in the early 20th century. Theater activities in Sudan and abroad  

The theater had transitioned to Sudan through Syria and Egypt through some individuals and groups. In the early 20th century, those who intended Egypt, Lebanon, and Syria for commercial purposes or to participate in state affairs. They had established their own lives in cities such as Khartoum, Umudurman, Khartoum Bahri, ‘Utbura and Port Sudan.

The Egyptians and Syrians mainly presented their theatrical plays in the Kosti Liuiso Theater in Greece (as-Surur / al-İnshirah). In the theater of the Airda karathane, he organized theater performances for foreign bureaucrats in Khartoum, merchants, and tourists to enjoy a pleasant time.

During this period, there was a surge in significant artistic and cultural activities facilitated by clubs and associations established by foreign communities. Theater performances organized by these groups were prevalent throughout the clubs. Plays were conducted in various languages according to the nationalities of the participants, making them exclusive to members of these communities. Sudanese, except some members of Gordon College, failed to participate in or attend these performances.

During the era in question, the Syrian group consistently staged diverse theatrical productions, whereas their Egyptian counterparts displayed a discerning preference for emphasizing artistic and literary values. As a result, the bureaucrats did not find the Egyptian groups compelling enough to warrant scrutiny and oversight. The meticulous examination of Egyptian group performances by British authorities constrained their activities and hindered their longevity. Consequently, many members of these groups either abandoned their theater activities or departed from Sudan altogether.

Until 1935, theater groups established and operating in Egypt engaged in theater tours across both the Eastern and Western Arab world, activities which notably did not extend to Sudan due to British prohibition. However, Hristo Papalixis, a wealthy Christian of Greek descent, successfully secured permission from the British to invite a theater group from Egypt to Sudan. Subsequently, in collaboration with Egyptian actor Hasan el-Bârûdî, he formed a troupe with the intent of presenting theatrical performances in Sudan. The orchestra under the leadership of Hasan el-Bârûdî was also supported by an accompanying orchestra.

Sudanese comedic theater bore the imprint of Egyptian comedic theater, and they established their own unique lives in cities such as Khartoum, Ummdurman, Khartoum Bahrî, ‘Utbura, and Port Sudan.

Sudanese comedy theater was influenced by Egyptian comedy theater. Sudanese comedy theater leaders were educated in Egyptian schools opened in Sudan. During this period, they were influenced by teachers who showed an interest in theater, especially the plays of Necîb er-Reyhânî, and turned to comedy theater. From around 1950, comedic theaters in Sudan were influenced by leading figures of Egyptian comedic theater, such as Emîn el-Hinîdî (1925-1986), Muhammed Ahmed el-Mısrî (Ö:2003) and Sa’îd Hişmet (1920-2013), who were also teaching in Egyptian schools in Sudan, both in the schools they worked in and in comedy theaters at Mesrahu Dâri’s-Sekâfe in Khartoum.

After foreign and Egyptian theater groups visited Sudan, particularly following the three comedy plays staged by Firkatu Hasan el-Bârûdî, notable developments in theatrical development started. Although initially met with skepticism by Sudanese audiences accustomed to serious sociocultural theater, the performances of this group significantly contributed to paving the way for the acceptance of this genre of theater.

In summary, the evolution of modern Arabic theater has reflected a dynamic interplay between cultural exchange, educational institutions, and regional influences, shaping vibrant theatrical traditions in Syria, Egypt, North Africa, and Sudan.