A Few Floors Down (2013) – Short Film, directed by Vahid Ghazimirsaeed.

Colorful Papers (2011) - TV Movie, directed by Mona Zandi

Astonishment (2012) – TV Series, directed by Keyvan Alimohammadi and Omid Bonakdar.

Beyond the Dead End (2012) – Short Film, directed by Pouria Heidari.

Eight O'Clock on the Top of the Stairs (2011) – Short Film, directed by Saeed Behbahani and Edris Mohammadi.

The project "Days on the Way" unfolds as an autobiographical-documentary theatre piece, offering a nuanced narrative of three women within Iranian society. This creative endeavor is a manifestation of my doctoral research, "Self-formation processes in autobiographical theatre." Commencing in October 2021 during my sojourn in Iran, this exploration captures the stories, memories, and images of the performers, woven through eight scenes addressing themes such as creation, home, acting, abandonment, death, absence, and depression.
Notably, "Days on the Way" is performed on an all-black stage, with the audience seated opposite. The unique staging involves high-resolution images projected on the wall by a beamer, simultaneously filmed by the actor. In this innovative production, I served as the researcher, co-dramaturge, director, and one of the actors. Performers engage in a self-observing style of playing, with their stories presented in a way that a cameraman captures them throughout the performance, creating a live visual narrative through a projector. This multifaceted role adds a layer  of  self-reflection  to  the  storytelling  process,  enhancing  the  audience's  immersive experience.

weaves together the narratives of acclaimed authors Herta Müller from Romania and Simin Daneshvar from Iran, bound by a common thread: Revolution. This bilingual play, performed in German and Farsi, unfolded its reflective tale in black box theaters in Tehran and Germany.As the researcher, actor, and director, I delved into the profound impact of revolutions on these women's lives and writing styles. The play is a journey through their past, exploring memory's limits and what it leaves behind. Meticulously crafted from archived data, interviews, films, and reports, the narrative reconstructs personal setbacks and triumphs.The black box setting, with long white nets symbolizing layers of the human mind, created a metaphor for the complexities of remembering. During the performance, video projections showcased real images, offering glimpses into the lives of the authors. Internet-sourced information unfolded as the characters rebuilt their lives. "Remembrance" is not just a play; it's an immersive experience, blending live performance with multimedia elements to engage and captivate audiences in a unique exploration of memory and history.

People I Don’t See, my debut documentary play, was developed during my Master’s program in Theatre in Social Context. The play investigates generational dynamics in post-Islamic Revolution Iran by exploring the lives of women born in three pivotal decades—1980, 1990, and 2000. Through recorded stories and staged encounters, it examines ordinary lives without resorting to heroism, instead highlighting everyday nuances, patterns of communication, and shifting social perceptions.This was also the first play in which I chose to perform myself. Until then, I had resisted acting in my own works, but after several formative experiences I found the courage to take that step. As researcher, director, and actor, I embraced this layered role, and my performance was honored with the Best Actress Prize at the 37th International Fadjr Theatre Festival in Iran.The staging reflected the play’s documentary ethos: role reversals between actors disrupted expectations, movements remained minimal and deliberate, and the audience sat facing one another, intensifying the sense of shared presence. Ultimately, People I Don’t See unfolded a poignant narrative of Iranian society across four decades, offering a raw and unconventional perspective on memory, identity, and the realities of everyday life.

This production, written by Niloufar Nedaei and directed by me, was a free and minimalist interpretation of Federico García Lorca’s Yerma. By stripping away folkloric and regional elements, we relocated the play into a timeless, placeless setting, focusing on universal oppositions such as fertility/sterility and femininity/masculinity.The staging emphasized stark contrasts: Yerma in white opposite a childlike figure in black, with dolls symbolizing unborn children. Stylized acting techniques, biomechanical movement, and abstraction replaced traditional narrative structure, inviting the audience to focus on conceptual tensions rather than linear storytelling.Performed by Yalda Sarafi and Anita Alimadadi, this experimental adaptation aimed to distill Lorca’s text to its essential themes. It stood out for its bold visual language and daring use of minimalism, marking an important early step in my journey as a director.

My directorial debut, Winter Journey and an Unrelated Story, began as my own concept and was brought to life by the playwright Soroush Ghasemian. Featuring the performances of Neda Jebraeili, Mona Ahmadi, and Pedram Sharifi, the play delved into themes of honesty and betrayal. It explored a dual narrative where silence and secrecy eventually give way to revelation, and where unspoken truths lead to a profound sense of betrayal. The use of pauses and moments of silence on stage was particularly impactful, creating a tension that resonated deeply with the audience.Premiering at the University of Tehran’s Experimental Theatre Festival in 2012, and later performed at both Molavi Hall and the City Theatre of Tehran in 2013, this production not only marked my first experience as a director but also earned me recognition as the Best Emerging Director of 2013 by the Iranian Association of Theatre Directors.

Documentary Theatre: An Encounter was a workshop series in Toronto, dedicated to exploring multiple forms of documentary theatre. Over several sessions, participants engaged with autobiographical performance, lecture performance, verbatim theatre, non-acting approaches, and community-based performance, combining theoretical frameworks with practical experimentation.Together with my colleagues Amin Azimi (theatre director, dramaturg, and PhD candidate in Drama, Theatre, and Performance Studies at the University of Toronto) and Jaber Ramezani (director, playwright, and artistic director of “The Hole Studio” Theatre Company), I mentored participants through step-by-step exercises that encouraged them to uncover memories, personal experiences, and testimonies, and to shape these into authentic performance.The workshop fostered a collaborative and intercultural exchange, bringing together diverse immigrant artistic voices to investigate how documentary theatre practices can transform lived experiences into collective reflection.

In 2017, together with my Austrian colleague Christoph Pauger and Iranian colleague Hamid Pourazari, I co-led a mask-making and character creation workshop at Tehran’s Roo Be Roo Mansion. Inspired by the traditions of the Lucerne carnival, participants designed and crafted their own masks, each infused with deeply personal emotions. The characters that emerged reflected inner experiences and transformed them into a shared artistic expression.The workshop culminated in a public, interactive performance at Roo Be Roo Mansion, where participants brought their masks and characters to life, engaging audiences in a vibrant and collective exploration of storytelling through performance.

(Heroes of the Future) is a collaborative theatre project in Ottersberg,Germany supported by the ambulanter Erziehungshilfen association, with participants aged 14 to 25 hailing from Syria, Iran, Somalia, and the Ivory Coast. As the director and researcher of this project, my focus is on weaving the personal stories of these young refugees, ensuring that each participant shares only what they are comfortable with.In partnership with Christoph Pauger, we aim to explore the individual and everyday experiences of these refugees, interweaving themes of heroism and contemplating the future of integration. As an artist committed to addressing social issues, I contribute my skills to facilitate effective communication in English, Persian, and German, creating a vibrant and collaborative atmosphere.Our diverse cast, including three Iranians, two Syrians, one Somali, and two young men from the Ivory Coast, passionately engage in this Ottersberg theatre project. Through language diversity and the exchange of ideas, "Helden der Zukunft" promises a dynamic and colorful exchange with spontaneous scenes.

The project "The Hero's Journey" is a mask-making workshop created and conducted at the Bürgerhaus Vegesack in Bremen, Germany. Originally conceived by Christoph Pauger, it was later executed by me for young people aged 11 to 16, including a mix of local kids and refugees from Syria. It was my first experience as a theatre pedagogue, working with individuals who had no previous experience in theatre.During the workshop, participants begin by sketching to develop a character. They then proceed to create a mask, further develop their character, and learn to improvise in free play. I was actively involved in the entire process, supporting and guiding the participants alongside Christoph. This included assisting them in building their masks and developing their characters.This hands-on approach proved beneficial, as it fostered a sense of collaboration and trust among the participants, ultimately enhancing their performance in the final showcase.The culmination of this project was a performance presented at the Auswärtsspiel Theater Festival in Bremen, Germany.