Istanbouli’s journey began in the southern city of Tyre through politically and socially critical plays, defying traditional norms. He successfully broke into public squares and streets with a team performing mobile shows while he was still in his second year at the Lebanese University’s Institute of Fine Arts.
The turning point in Istanbouli’s life came in 2014 when he reopened the "Colisée Cinema" on Hamra Street, which houses a theater stage that had been neglected for decades. He says, “The project was not only about renovation, but also the launch of a comprehensive cultural initiative called the Lebanese National Theater, aimed at making theatrical performances accessible to all social classes, creating a space for workshops, a gathering place for university students, and a public library.”
Istanbouli’s project went beyond the artistic realm, turning theater into a tool for reconciliation—with oneself and with others—a space for raising voices against marginalization, sectarianism, repression, and more. One of his notable achievements was launching the Tyre International Film Festival—the first of its kind in the history of South Lebanon—which has reached its 12th edition this year.
In 2018, Istanbouli and his peers—whom he never fails to credit for every achievement—founded a licensed association called “Tiro.”
Istanbouli openly prioritizes recent graduates in his work, especially those in peripheral areas, believing that cultural education is a right, not a privilege, and must exist in all regions to achieve what he calls cultural and artistic decentralization. Hence, he allows them to use the stage whenever they wish and works to secure audiences for their shows.
Detailing his journey to Beirut, Istanbouli followed a path that started with establishing a theater in Tyre, then Nabatieh, then moving north to Tripoli, before finally reaching the capital. He believes Beirut’s cultural, political, and even economic revival cannot be complete without a vibrant, youth-driven theater that reflects people’s priorities and concerns.
He has never received substantial financial support; most of his projects were built through individual efforts and, more recently, donations via platforms like GoFundMe. As for the Ministry of Culture—officially responsible for such initiatives—its support remained symbolic. Yet, Istanbouli and his association managed to open what he calls “cultural spaces and hubs” to fight the elite’s monopoly over culture.