Omar Ali Amin, a writer, actor and theater director, passed away on 13-01-2009 after seventy-three years of life. Looking at the bibliography of this artist's artistic life, there is a great richness that most of the artists of this generation of Kurdish art may be unaware of. He has worked in many fields for more than half a century and in all these fields, compared to the period of artistic rhythm (Omar Ali Amin) is one of the pioneers of this country's art.
After all these years of artistic work, this artist has left behind an extensive archive of acting, writing and directing, so that few theater artists of our generation are aware of this archive.
In the field of acting, apart from operas and children's works, he participated in several theatrical performances from 1970 to 1986, each of which has a special place in the history of Kurdish theater.
The most important of these works are Grave Digger (1970), Merchant of Venice (1972), Sneezing (1973), Sculpture (1974), Cup (1978), Arta Bridge (1978) and Towards the Sun (1986), and 60 radio productions, most of which he acted and directed.
He has also written and directed many works in the field of children's theater and opera, including Golden Circle (1973), Lion Master (1973), Anopheles (1976), Careless Name of the Barrel (1973). -1976) (The Bride in the Rain) (The Spring Didn't Dance) (The Singing Butterfly)....etc.
He had the idea of publishing the first Kurdish art magazine, called Tishki Hunar, which he later published several issues with Ahmad Dang Gowra and Fatah Kawa.
In addition to painting, he has participated in several private exhibitions. Although he is not known as an artist, he has always been aware of the movement and history of Kurdish painting and has written several articles in this field in painting.
The most obvious point of this artist's life was that he always liked to listen and talk little. Unlike most of his generation, he respected the experience of young artists and was always present in their performances and works. He participated in performances, critical conferences, and theater festivals until the last days of his life, according to his experience and artistic ability in the field. He continued acting, directing, and writing, but he lived in silence, worked in silence and died in silence.