For more than 15 years, writer and director Diyar Feizullah has devoted his artistic life to children’s theater, a field he says not only transformed his career but also gave him a new sense of purpose.
Feizullah, originally from Sulaymaniyah, began his artistic journey in 1986 as an actor with the Experimental Theater Group of Chamchamal. Later, he pursued studies in the Theater Department of the Fine Arts Institute in Sulaymaniyah, where he became involved in acting, directing, and translating plays into Kurdish.
“After the uprising, I took part in several children’s projects, especially for television,” Feizullah recalled. “But it was in 2003 that I shifted entirely to children’s theater. That was a turning point for me.”
His entry into this field came through an educational initiative by the Sulaymaniyah Education Directorate, which sought to develop children’s theater in kindergartens. For the first time, male teachers were included in the program, and Feizullah, along with two colleagues, was tasked with leading theater activities in three kindergartens.
“At first it wasn’t easy. It took time to adapt to the children’s world—understanding their behavior and finding ways to direct them,” he explained. “But eventually, it became the world that completely changed my path.”
Since then, Feizullah has written and directed numerous plays, all of which have been staged. Some works included musical adaptations aimed at raising awareness among children on issues such as environmental protection. He also supervises schools and kindergartens, and runs workshops and training courses for young learners and art teachers.
For Feizullah, writing for children requires far more than technical skill.
“Before being difficult, it is a responsibility,” he said. “Every word, every song, every dialogue can shape a child’s thinking. It demands knowledge, research, and imagination—the ability to live in the child’s imaginary world.”
Despite the importance of this work, Feizullah believes that children’s literature and theater remain under-supported.
“Writing for children should be treated as a national project, with institutions, publishing houses, and proper encouragement,” he stressed. “So far, much of it has been done voluntarily, out of personal responsibility by writers and artists.”
Even after decades of work, Feizullah remains deeply committed to his mission.
“My life in children’s theater is not just about writing and directing plays,” he said. “It is about shaping the future generation and giving them a voice through imagination.”
