Tragedy of Reality: Representations of Terrorism in Omani Theater Abdul Razzaq Al-Rubaie and Badr Al-Hamdani as a Model

Abstract

Theatre is a social phenomenon intrinsically linked to life in all its political, economic, and religious complexities. Since its inception, it has served as a mirror to societal tensions, and in the Arab world—particularly after the events of September 11, 2001—it has taken on a critical role in questioning the roots of terrorism and religious extremism. Unlike media, which often reacts to surface events, theatre possesses a contemplative and analytical power that delves into the deeper structures of violence. The stage provides space to explore both the antecedents and aftermath of terrorist acts, dismantling mechanisms of persuasion, recruitment, and detachment from reality. This study, titled “Theatre Confronting Terrorism,” examines how Omani theatre has engaged with this complex issue through the works of Abdul Razzaq Al-Rubaie and Badr Al-Hamdani. In Princes of Hell, Al-Rubaie constructs a psychologically intricate portrait of a terrorist figure—Ayad—a young man torn between guilt and atonement, alienation and belonging, the longing for love and the inevitability of killing. Meanwhile, in Choices in a Time of War, Al-Hamdani places his characters in an existential dilemma, where the only escape from death is to confront it head-on. The couple, Arabi and his wife Khalida, flee every possible path, only to discover that true dignity lies in facing death with heads held high. Together, these plays offer a profound and nuanced representation of terrorism, probing its psychological and corporeal dimensions with acute awareness. This, the researcher argues, stands as one of the most significant achievements of contemporary Omani theatre in addressing the phenomenon of terror.