Theatre in Lebanon has its origin in passion plays. The musical plays of Maroun Naccache from the mid-1800s are considered the birth of modern Arab theatre. Some scholars, such as Abdulatif Shararah, have divided Lebanese theatre into three historical phases centered on 1) translations of European plays, 2) Arab nationalism, and 3) realism. Passion Plays The dramatic presentation of the Passion of Jesus Christ was a traditional practice during Lent among the Christian communities in Lebanon. Additionally, passion plays, depicting the events of Karbala, were also common among the Shia of Lebanon. Passion plays, whether Christian or Shia, were events centered around village life. In villages, it was not uncommon for Christians to participate in minor roles in Shia passion plays and vice versa. 1800s The first theatrical production, which was by Maroun Naccache, was performed in Beirut in 1846. On a visit to Italy in late 1846, Maroun Naccache was exposed to theatre and upon his return to Lebanon, he wrote an Arabic adaptation of L'Avare (Al Bakhil). The increase of theatrical productions is evident in advertisements for plays and critical reviews that appeared in the publication of the arts magazine, Thamrat Al Funun, starting in 1875. 1900s The Naccache plays paved the road. By the turn of the century, theatre became a "customary form of entertainment," overcoming the initial objection of the Church regarding dramatic arts. As part of the end of the academic year, universities in Beirut staged theatrical productions. In 1903, Julius Caesar was staged at the American University of Beirut followed by Hamlet in 1905. 1910s The contributions of expatriate literary figures such as, Mikhael Naimy of the New York Pen League who wrote the play, Fathers and Sons in 1906, were an important factor in the acceptance of the literary genre in Lebanon. 1920s The Grand Théâtre, built in 1927 on Rue Amir Bachir in Beirut Central District, catered to the Francophone communities of Lebanon. 1940s Said Akl's Cadmus that was published in 1944 was considered another important contribution to the development of theatre in Lebanon due to its nationalistic theme. 1950s One of the most important playwrights of the 1950s was Said Takieddine whose one-act play, The Outcast (1953), was acclaimed. This period also witnessed the flourishing of the Armenian Lebanese theatre that was heralded by Kaspar Ipekian and later George Sarkissian. 1960s Due to the fact that Beirut was the only city