The theatre of His Highness Sheikh Dr. Sultan bin Muhammad Al Qasimi, Supreme Council Member and Ruler of Sharjah, since he began writing for theatre in 1998 until today, is based on characters, events and historical issues in the first place. The theatre of the character or the theatre of the characters, if this description is fitting, can be identified in theatrical works of His Highness, such as: “Hulagu”, “Alexander the Great”, “Mighty Samson”. Moreover, the scene of the events can be identified in: “the Case” and “Reality a True Copy”. As for the theatre that treats issues, every theatrical work of His Highness carries a historical, human, intellectual issue: the Book of Allah ... The Conflict between Light and Darkness  and “Da’esh(ISIS) and the Al Gabra’a.”

This is diligence in interpreting the theatre of His Highness the Ruler of Sharjah. However, it is closer to the nature of this international Arab theatre at the same time. His theatrical works were shown on major theatre stages in Europe and on Arab stages, and his theatre was transferred to most of the world’s living languages, and even those languages that seem limited to a specific geographical location, such as Urdu. Meanwhile languages such as English, French, and Russian have transferred his theatre to culturally ancient settings in the intellectual engagement with the art of theatre, whether at the level of people or at the level of cultural elites in general, and theatrical in particular.

In the past few days, Madrid and Cordoba celebrated the theatre of His Highness the Ruler of Sharjah within the framework of the cultural program arranged by the Sharjah Book Authority in cooperation with the “Arab House” in the two ancient Spanish cities. The Spanish language hence carried Sultan's theatre before this global, cultural hospitality with the theatre and the personalities, events, and issues it carries.

It is an exceptional celebration of the theatrical experience of His Highness, the Ruler of Sharjah, and it is not merely a “theatrical experience.” Rather, what he writes of an Arab theatre project is at the heart of the Sharjah Cultural Project. Thus, His Highness participates in this Emirati, Arab and global project with this theatrical structure of a primarily historical personality.

The Ruler of Sharjah recalls history, but before this implementation and theatrical employment, he resorts to extensive readings in the material available before starting to write. His Highness reads everything that surrounds the character he is dealing with, in terms of the historical event or the issue that he intends to build the theatrical on. He evaluates the contents of books, encyclopaedias, and references related to the historical material, which he gradually turns into written theatrical material. This is done without losing sight of even a director's vision to transform what is written into what is presented.

The theatre of His Highness the Ruler of Sharjah has a specific cultural personality that is also a historical figure. However, this history that he relies on in his theatre, is not a history that is subject to disagreement or doubt, but rather a reliable history. It is history based on documents, science, examination and investigation. His Highness possesses the tools of a historian who does not allow uncertainty to infiltrate his documentary research work.

Madrid and Cordoba in Spain were ancient stages for the theatre of His Highness the Ruler of Sharjah during the “Sharjah Literary Days". The models of this theatre were based on people, events and matters that are very important for theatre lovers around the world.