The history of theater is rich with trailblazing women who broke barriers, challenged norms, and shaped the craft in ways that continue to resonate. Among the earlier female playwrights was Hrotsvitha of Gandersheim, a 10th-century German nun and the first known female dramatist in Western literature. Writing in Latin, Hrotsvitha’s plays celebrated female virtue and often challenged the misogyny present in the male-dominated theater of her time. Her bold depictions of strong, spiritual women paved the way for later female writers who would use the stage as a medium to amplify women’s voices and stories.

Tazieh, a unique Iranian theatrical form, is deeply rooted in Shia Islam and holds a significant cultural and spiritual role in Iran. Originating around the 7th century, it is a type of passion play that reenacts the martyrdom of Imam Hussein, the grandson of the Prophet Muhammad at the Battle of Karbala. Unlike traditional Western theater, Tazieh is a ritualistic performance meant to elicit emotions of grief, empathy, and solidarity with the suffering of Hussein and his family, who are seen as symbols of resistance against tyranny and injustice. Typically performed during the Islamic month of Muharram, Tazieh serves not only as a form of entertainment but as a communal, spiritual, and moral experience for both performers and audience.

Restoration comedy, a lively and satirical form of theater, flourished in England from 1660 to 1710 after the monarchy was restored following the Puritan-led Commonwealth period. Under Puritan rule, theaters had been closed, and public performances were prohibited due to perceived immorality. With the return of King Charles II, a known theater enthusiast who had spent years in France, the cultural landscape of England underwent a dramatic shift. The King’s influence led to a surge in the theater’s popularity, as well as the introduction of new and innovative styles. Restoration comedy, with its witty dialogue, focused on the exploration of social manners and sexual intrigue.

Moroccan Halqa is a vibrant and dynamic form of street performance rooted in the oral and storytelling traditions of Morocco. Often taking place in public spaces like bustling marketplaces, Halqa can be a spontaneous gathering or a planned event that draws audiences of all ages. The word “halqa” means “circle” in Arabic, which describes the shape formed by the audience as they gather around the storytelling, creating a communal space. The tradition dates back centuries, blending elements of storytelling, music, and comedy, making it a highly interactive experience. Performers are typically skilled in engaging the crowd, drawing people in with dramatic gestures and compelling tales.

Eugene O’Neill was one of America’s greatest playwrights, born in 1888 in New York City to an Irish American family. His father was a successful Irish actor, which is why his family moved around so much. Eugene’s early life was marked by turbulence, with struggles related to his father’s demanding career and a family legacy. O’Neill struggled with depression and alcoholism, which collectively influenced his plays.

Opera dei Pupi is a unique form of Sicilian puppet theater known for its storytelling and intricate craftsmanship. Originating in Sicily during the early 19th century, it centers on the tales of medieval knights, like Charlemagne and his paladins, and explores themes of honor, adventure, and chivalry. Performances are deeply rooted in the island’s cultural identity and reflect a blend of Italian and Spanish influences, along with the legacy of historical storytelling traditions.

Henrik Ibsen was born in 1828 in Skien, Norway, and grew up in a lower middle-class family that faced many financial hardships with his father’s business. These experiences shaped many of Ibsen’s playwrights, as they focused on topics of personal struggle and societal expectations. Henrik Ibsen left his home at a young age to work as an apprentice pharmacist. Shortly after, he switched to a playwright. His early years were marked by isolation and frustration with Norwegian society which fueled his challenging of societal norms in writing.

Theatre in Fascist Italy underwent significant changes as it became a tool for state propaganda under Benito Mussolini’s regime, like in Nazi Germany. Before Italy became fascist, Italian theatre was vibrant and futuristic. However, with the rise of fascism in the 1920s, the government began to assert strict control over cultural life, including the theatre. Mussolini recognized the power of performance to instill nationalist values, and as a result, theatrical productions were expected to align with the regime’s ideals of strength and militarism.

French theatre has a long and rich history, marked by its intellectual depth and elegance. Dating back to the Middle Ages, French playwrights have produced a wide range of works, from comedies and tragedies to historical dramas. French theatre is associated with La Comedie-Francaise, one of the oldest and most prestigious theatres in the world. Founded in 1680 and still operating, it has promoted the works of the country’s most famous playwrights, whose works have now become iconic in the world theatre landscape.

Theatre of Bali is a rich and vibrant cultural tradition that blends dance, drama and music into a single art form. Mixed between ancient Hindu and ancient Buddhist mythology, Balinese theatre explores themes of spirituality, morality, and the balance between good and evil. The performances are often elaborate, featuring costumes, intricate makeup, masks, and a variety of characters. Balinese theatre is based around the ideas of spiritual offerings to the gods, making each performance sacred.

Theatre in Nazi Germany had a huge impact on the country’s theatrical landscape. Under the regime, the arts (including theatre) were heavily controlled and mainly used for propaganda. The Nazis wanted to control every aspect of cultural expression to promote their own ideology and suppress any opposing voices. The Ministry of Propaganda imposed strict regulations on the content of plays and any practices by theatre companies. The only themes that were allowed on the stage were themes of nationalism, racial purity for the Aryan race, and anti-Jewish ideology.

Turkish theatre has a rich history that shows the cultural mix between the East and the West. Originating to the Ottoman Empire, Turkish theatre has traditions of religious storytelling, folk performances and Western European influences. One of the first forms of Turkish theatre was Ortaoyunu. This was an interactive, improvisational theater performed in open air spaces. The performances contained dances and acting fully improvised, and the actors wore exaggerated costumes and masks. Ortaoyunu was extremely popular for religious holidays or festivals and would bring the large community together to watch.