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Performance
Discover a range of artistic projects, from live performances to theater productions and on-screen appearances.
MY NAME IS KHALIL
Khalil Albatran carries the name of his martyred brother, who was killed during the First Palestinian Intifada in 1987. This project is a deeply personal journey to explore the emotional and psychological impact of growing up with the name, memory, and legacy of someone he never met, yet is constantly reminded of through family stories, photographs, and expectations. Through dance, music, and archival materials, Khalil expresses the silent conflict of identity — questioning whether he is living as himself or as an echo of another. This work sheds light on a broader phenomenon in Palestinian society: naming children after martyrs, and the layered meanings and burdens this carries. By sharing his own story, Khalil opens space for collective reflection on identity, memory, and the unspoken struggles inherited through names, offering a rare and honest perspective on a reality experienced by many.
Mushtabik
Mushtabikis a multidisciplinary artistic and research project exploring the relationship between the body and political events in the context of Palestine. It presents the body as a living archive of memory and resistance, blending movement, text, sound, and image. The project engages with themes of violence, identity, and solidarity, offering art as a counter-narrative to erasure and oppression. Through performances and workshops, Mushtabikcreates a space where body, memory, and resistance intertwine.
My echo
A musical performance piece and video art. The work follows a citizen living inside a bubble, interacting with the sounds and information that reach him from the outside. He responds to distant echoes through a microphone he discovers, creating a new echo of his own.
Drawing from archival materials on advocacy for the Palestinian cause since the 1930s, the piece weaves together articles from Palestinian newspapers, presidential speeches, and Arabic revolutionary songs.
The citizen in the bubble is a product of multiple worlds and influences that have shaped his identity. At times, he is merely a passive recipient; at others, he is entirely excluded from the conversation.
Through this work, we aim to spark a new dialogue—perhaps satirical, perhaps assertive, but above all, necessary—in exploring the impact of international solidarity movements on the local Palestinian and the crucial importance of solidarity from within.
Bridge play
In the middle of the desert, midway between homeland and exile, in the midst of absurdity, specifically on the bridge, a migrant from his homeland meets a returnee after each has experienced his own wandering. On the bridge, they meet and get stuck at that point and with each other, practicing wandering and desertification together. Each searches for his life or its meaning in the other, posing life's fundamental questions: power, wealth, citizenship, existence and its practice, wandering and its curse, nostalgia and desire, homeland and exile.
I directed this theatrical work, which included a group of participants: two actors and a playwright. The research duration was approximately a year and a half. In the final days before the performances, we released several truths that accompanied us in the performance, and the performance was built on these truths. This performance was by the "Ather" troupe.
Pending or Awaiting
The entire drama unfolds in the waiting period between two characters: Sophie, the homeowner, and Nabih, the creditor.
They meet in Sophie's house on the fortieth day after the death of her husband, "the dictator," and they must stay together for an hour and a half while waiting for the customer who will buy Sophie's house. The play delves into questions of gender, invasion and reclamation of space, attraction, harassment, relationships, and the interplay between imagination and reality.
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Fulana
In this situation I try to talk about the time that went by to search for the stories and details about women from different places
Time went by to talk “we finished the theatre show, we finished the journey of 11 months but we haven’t finished the search”
The show is in Ashtar Theatre
I Will Betray My Country
Do we betray our homeland? Can someone who loves their country betray it?
Betrayal in itself may seem shocking, repulsive, and harsh—so what about betraying one’s homeland?
From the final rehearsals of the play "I Will Betray My Country", one of the greatest masterpieces of Muhammad Al-Maghout!
The Brainwashers Conference
Directed by: Khalil Batran
A play that highlights political corruption, capitalism and economic dominance on the people. Through a story of a country whereby the president is manipulating the people through the press to believe that the cotton product had vanished.
A Stranger’s Identity
He sells envelopes along with coffee and cigarettes, searching for an identity card-just one card-to find a home, to continue his university studies, to marry the one he loves, to exercise his absent citizenship. Without an identity, he loses his existence entirely; he is erased from the records of the living and the dead, his presence vanishing completely, even though he "eats, sleeps, drinks, is oppressed, and is named..."
This is the story of a stranger, a story that has long waited for someone to tell it. Its appearance has changed many times, varying according to the political circumstances. So, who will tell the stranger’s story with identity?
Corpse Amidst the Rubble
is a dramatic work that explores the impact of war on human relationships, especially the thin line between friendship and enmity. Jalal and Sari were both part of a group opposed to the ruling power. They took up arms and engaged in combat against the authorities. However, a minor incident or simple misunderstanding between them quickly turned one into the enemy of the other.
Jalal and Sari’s group decided that Sari should be imprisoned until they achieved victory and could decide his fate. The group took turns guarding him until it was Jalal’s turn. The group then went out for a confrontation and never returned, leaving Jalal and Sari together for years as guard and prisoner, each bound to the other. Jalal couldn’t leave Sari in the basement and leave, and Sari couldn’t free himself
from Jalal’s grasp. Over the years, their relationship grew more complex and intertwined.
The Devouring List
The work addresses the issue of the detainee from the moment of arrest until their trial. “Al-Basta” involved a group of theater friends and enthusiasts, in addition to its members; friends and interested individuals who wished to share this experience collectively. The team collaborated in the concept, research, writing, directing, and acting.
Gaza Monologues
He sells envelopes along with coffee and cigarettes, searching for an identity card-just one card-to find a home, to continue his university studies, to marry the one he loves, to exercise his absent citizenship. Without an identity, he loses his existence entirely; he is erased from the records of the living and the dead, his presence vanishing completely, even though he "eats, sleeps, drinks, is oppressed, and is named..."
This is the story of a stranger, a story that has long waited for someone to tell it. Its appearance has changed many times, varying according to the political circumstances. So, who will tell the stranger’s story with identity?
country
The show focuses on the effects of geographical and psychological divisions in Palestine through a satirical comedic approach, by narrating the stories of Palestinian characters from different areas — the Golan, the West Bank, and the ’48 territories — exploring their identities, struggles, and dreams. It deeply addresses issues such as the “guilt of privilege,” the tension between individuality and collectivity, and the pains of Palestinians in confronting these divisions.
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