His artistic journey began in his teenage years as a breakdancer in Homs, Syria, before moving to Damascus in 2008 to join the “Sima Performing Arts” ensemble. There, he received training in ballet and modern dance with his first mentors: Hoor Malas, Yara Eid, and Alaa Krimed.

Enrolling at the Higher Institute of Dramatic Arts – Department of Dance in 2011 marked a pivotal moment in his career. Early experiments during this period paved the way for his participation in “Leymoun platform” in Beirut (2013). He also received a scholarship from choreographer Krisztina de Châtel, facilitated by the “Dancing on the Edge” organization, which subsequently took him to Amsterdam for workshops. He later completed training with the “Damascus Theater Laboratory” led by Dr. Osama Ghanam.

In 2015, his international presence expanded through the creation of “InDignity” a dance performance developed in collaboration with Gloria Benedikt that artistically explores dignity within the context of the UN Sustainable Development Goals. After its premiere at the European Forum Alpbach in front of UN and EU officials, the work was later presented at Tsinghua University and the Polish Embassy in China.

His academic work culminated in “Self-visit” (2015), a non-commercial project that served as his graduation work from the Higher Institute of Dramatic Arts – Department of Dance in Damascus. Adapted from Patrick Süskind’s novel “The Pigeon”, it was developed in collaboration with dramaturge Hiba Mehrez, scenographer Walaa Tarkje, and musician Hussain Atfah. This work was preceded by a two-phase preparatory process: the first supported by the “Artists Citizens” foundation (2014) with dancer Orwa Abusaleh, and the second self-produced.

The directorial path later evolved through his direction of a staged reading of Saadallah Wannous’s “A Corpse on the Pavement” (2016), followed by serving as assistant director for “The Stranger” (2018), adapted from Harold Pinter’s “The Caretaker” and directed by Tarek Abdo. A contemporary interpretation of Gogol’s “The Overcoat” (2019) followed, created in collaboration with dramaturge Lojain Alarnji, choreographer Nawras Othman, and scenographer Hani Jabour.

In Vienna, he refined his practice through the initiative “Return to Theater” (2023), working within interactive theater in partnership with Ammar Attar, director of the “Arabic Book Club”, and Ramman Hawy, artistic director of “Spektakel”. Alongside this, he has published his first novel (2022), a short story collection (2023), and wrote a series of critical articles on cultural and artistic matters for the Qasioun newspaper (2022–2023).

He is currently developing his research project on the contexts of Dramatic and Post-dramatic Theatre.

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Catch Hussein on:

Info@husseinkhadour.com

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