Gaza Actor Turns War Experience Into Theatre
In Gaza, actor Abu Qasai Qaddoura and his fellow performers turn their lived war experiences into a raw theatrical production, "50 Minutes in Gaza," staged in makeshift venues and later a damaged theatre. Their work offers a psychological outlet and a message of resilience amid ongoing conflict.
By Felo News Desk · Published
In the early morning of a Gaza street, Abu Qasai Qaddoura, 42, walks two hours on foot to a stall in Sheikh Radwan, buying firewood for his family’s survival. When he cannot afford it, he scavenges cardboard, plastic or salvaged wood from destroyed homes to keep his roof warm and cook a meal. After cleansing soot from his hands, he heads to a rehearsal that takes him through rubble‑filled streets, avoiding main roads where Israeli gunfire is reported. The journey ends in a makeshift tent pitched in the car park of Gaza City’s Rashad al‑Shawa Cultural Centre, where the play is staged.
From Survival to Stage
Qaddoura, who once worked behind the camera as a production manager and sound technician, has never acted before. The war’s devastation—his home in al‑Tawam destroyed by Israeli airstrikes—forced him and his wife to live in a single rooftop room with their three children, sheltered by a plastic tarp. On stage, he portrays a doctor trapped in a Gaza hospital, forced to amputate a child’s leg without anesthetic. The scene mirrors a real father’s experience, a video the actors studied. Each time he holds the child’s doll, Qaddoura’s own children’s faces appear, turning rehearsal into an emotional confrontation with his own fears.
After a brief break, he collapses into tears, but the director, Ali Abu Yasin, calls the actors back. The performance repeats, each repetition a testament to the actors’ resilience and the psychological release theatre offers amid relentless conflict.
Theatre Amid Ruins
Abu Yasin, a seasoned actor, playwright and director with 37 years of experience, has seen Gaza’s cultural institutions destroyed: Al‑Mishal Cultural Centre in 2018 and Rashad al‑Shawa Cultural Centre in 2023. UNESCO reports damage to 164 cultural sites since the war began. With theatres gone, Abu Yasin turned to the streets. The play, "50 Minutes in Gaza," began as a writing workshop funded by the Rosa Luxemburg Foundation. Eight of the original fourteen participants survived the war’s hardships and joined the production, turning their script into a living performance.
Rehearsals took place in a fabric tent on asphalt, then in a cramped, poorly ventilated room in Ajwa cafe, and finally in the A. M. Qattan Foundation’s cultural centre on Al‑Wehda Street. Each venue presented challenges: unreliable electricity, dust from nearby bombings, and the constant threat of Israeli reconnaissance drones. The actors built sets from damaged tents and reclaimed wood, turning scarcity into creativity.
Emotional Resonance
Actress Iman Ouda, playing a pregnant woman named Haneen, describes how an explosion during rehearsal forced the cast to pause, check on family safety, and then resume. The proximity of danger made the line between performance and reality blur. For actor Tamer Najm, playing a man who has struggled with infertility, the role echoed his own experience of displacement and fatherhood. He describes walking to rehearsals with his pregnant wife, constantly fearing for her safety, and using theatre as a way to process that trauma.
The opening night on July 19, 2026, was held in the A. M. Qattan Foundation’s auditorium, which had been damaged by an Israeli missile strike during rehearsal. Despite the threat of power outages and nearby bombardments, the audience of about 150 people filled the seats. The actors wore everyday clothing and improvised makeup, performing in the dark with the director’s voice echoing from the stage. The play toured Gaza in late July and August, drawing crowds of up to 500 in Khan Younis, sending a message that theatre endures even when physical venues are destroyed.
After the final curtain, Qaddoura returns home, carrying his daughter Sham who had fallen asleep. He lights a fire and cooks dinner, the same routine that began his day. The cycle of survival and artistic expression continues, offering both the performers and the audience a shared space to confront and transcend the ongoing conflict.
Key facts
- Abu Qasai Qaddoura’s daily survival routine fuels his acting
- The play "50 Minutes in Gaza" was born from a writing workshop amid war
- Rehearsals took place in tents, damaged cafés, and a bomb‑struck auditorium
- Actors use personal trauma to create authentic, emotionally charged performances
- The production tours Gaza, drawing large audiences and sending a message of resilience
Why it matters
The play shows how theatre can be a lifeline for communities under siege, turning personal grief into collective resilience and preserving cultural identity when physical spaces are obliterated.
Frequently asked questions
What is the main theme of "50 Minutes in Gaza"?
The play explores the lived experiences of Gaza residents during the war, blending personal trauma with theatrical storytelling.
How did the actors manage to rehearse amid bombings?
They paused rehearsals to check on family safety, used makeshift venues, and relied on improvised sets and costumes.
What impact has the play had on the audience?
It offers a shared space for reflection, healing, and a reminder that cultural expression endures despite destruction.
Sources
- [1] aljazeera.com — originally reported as “In Gaza, actors perform a war they are still living”
