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  • The modernity of a live tradition: Theatre in Iran

    The modernity of a live tradition: Theatre in Iran
    Maryam Ala Amjadi

    http://www.tehrantimes.com/life-style/96157-the-modernity-of-a-live-tradition-theatre-in-iran-

    On Line: 07 March 2012 11:32
    In Print: Thursday 08 March 2012

    Iranian playwright, actor and scholar of dramatic arts, Dr. Ardeshir
    Salehpour (photo by Sasan N. Chegini)

    Dr. Ardeshir Salehpour (born 1957) is a prolific Iranian playwright,
    filmmaker, actor and scholar of dramatic arts who has a PhD in Arts
    Research and over 18 years of academic teaching experience. He is a
    regular contributor to national and international theatre festivals
    and has organized and directed numerous theatre events within the
    country. Salehpour has 8 published plays to his credit and has also
    directed 11 documentary films which mainly center on anthropological
    issues. His numerous research articles tackle history of art, folklore
    music and the nuances of cultural and anthropological issues in Iran.
    He has also hosted and contributed to over 500 radio programs. "Bride
    and Sparrow", "Pomegranate's Daughter", "Maah Teetee" and "Drama and
    Gramophone" are among his published works. Salehpour is presently the
    director general of the biennale International Puppet Festival in
    Iran.
    In an interview with Maryam Ala Amjadi he discusses the history of
    Iranian theatre and its progress in today's Iran.

    Below is the abridged version of the interview translated by the interviewer.

    Maryam Ala Amjadi: Theatre as we see it today, actually emerged in the
    time of the Qajar King, Nasereddin Shah (1848-1896). What was the
    history of dramatic arts in Iran prior to the Qajar dynasty?

    Ardeshir Salehpour: We are talking about two concepts here. One is
    theatre as it was defined by the Greeks in its classic sense and the
    other is namaayesh (dramatics or dramatic arts). Iranian culture which
    is thousands of years old has a long history of dramatic arts which
    were majorly, as in many other nations, associated with traditional
    and religious rituals. But as you mentioned it was indeed during the
    Qajar period that Iranians were familiarized with theatre in its
    classic and Western sense. There were several factors that led to the
    realization of theatre in Iran. Abbas Mirza (1798-1833), the Qajar
    crown prince, the living conscience of the Qajars, and the first
    reformist who attempted at modernizing the country, sent Iranian
    students to farang (a generic word for the West, farangi: foreigner)
    where they were exposed to various trends of their time, including
    arts and the theatre. The intellectuals brought with them three new
    achievements after their return to the country: theatre, newspaper
    (journalism) and parliamentarism. I would like to draw your attention
    to an overlooked historical figure and a member of the Iranian
    parliament Mirza Reza Khaan Tabatabaie Naeeni who founded and
    self-funded the first theatre journal of Iran in 1908. He believed
    theatre to be one of the three platforms of a progressive society
    along with higher education (universities) and newspapers
    (journalism). The Qajars ruled Iran for almost 150 years, about 50
    years of which were ruled by the artist king, Nasereddin Shah. He was
    a motafanen (literally, entertainment seeking) king who traveled to
    the West 3 times, after which he could speak French and also attempted
    photography, music, painting, poetry among other arts. Iranian arts
    literally flourished during his time. He sent many Iranian painters
    and musicians to the West to gain experience. Literature also thrived
    during this period and you have significant figures like Fathali
    Akhundzadeh.

    MAA: He was the first playwright of Iran?

    AS: Not only the first in Iran but also the first in Asia and even the
    Islamic world. He was born in Nukha (which belonged to Iran until
    1828) but he later migrated to Tiflis where he started to write plays
    in addition to works on calligraphy and other arts. He is to some
    extent Westernized in his thinking and this is probably one reason as
    to why the Iranian society could not accept what he wrote. His plays
    were originally written in Turkish and translated into Persian but
    were not staged or published due to the repressions of that time.
    Criticism of feudalism, the question of women and depiction of vices
    like bribery are the common themes of all his plays. He is quite
    radical in his representation of politics and society.

    MAA: So who was the first Iranian playwright to write in Persian?

    AS: Mirza Agha Tabrizi who was also the first secretary of the French
    Embassy in Tehran in 1863. He wrote in Persian and corresponded with
    his contemporary, Akhounzadeh.

    MAA: Was he as successful as Akhundzadeh?

    AS: Certainly. He followed the same style and developed the same
    themes. Akhoundzadeh also edited many of his plays through
    correspondence, elaborating the nuances of theatre for him.
    Interestingly, a prominent figure like him stays unknown to Iranian
    society and even today not many people have heard his name.

    MAA: And why is that?

    AS: Well, for one thing he was reserved and his criticism of the
    social and political status of the country was quite radical for his
    time.

    MAA: So his theatrical interpretations of the society were realist in nature?

    AS: Very much and quite critical like Akhundzadeh. His plays were
    later published in Berlin under the penname of Mirza Malkam Khaan. It
    was only a few years ago that a scholar from Azerbaijan, who was
    studying the letters of Akhundzadeh, came across Mirza Agha Tabrizi's
    name among the documents and we came to know about the true name of
    the first Iranian playwright. There were other pioneer playwrights as
    well, for instance Hasan Moghaddam who initiated the Young Iranian
    Theatre in 1921 by staging a play entitled "Ja'far Khaan Returns from
    Farang (the West)" which actually represents the clash of tradition
    and modernity. This is the beginning of a new world for Iranian
    dramatic arts.


    Ta'ziyeh (Condolence Theatre or Passion Play) usually performed during
    the month of Muharram and Safar commemorating the saga of Karbala and
    Imam Hossein
    MAA: Where were the first plays staged?

    AS: When in Europe, Nasereddin Shah always attended the opera and the
    theatre which he grew quite fond of. When he returned to Iran he asked
    his architect Doustali Khaan-e Moaerol Mamalek to build Tekkiyeh
    Dowlat, the royal theatre of Iran which became the biggest religious
    theatre of Iran where Ta'ziyeh (condolence theatre) and religious
    plays were performed. It had the capacity for more than 20,000 people.
    But classic plays were staged at the Dar ol-Fonun (literally, House of
    techniques/arts, established in 1851, the first modern institution of
    higher learning in Iran) where a theatre hall with the capacity for
    300 people was built by the order of the king. Mirza Aliakbar Khan
    Naghashbashi was the first stage director and the first translations
    of the French playwright Molière and other Western plays were staged
    there.

    MAA: But Ta'ziyeh is a much older tradition and it actually emerged as
    a religious expiation ritual with the dawn of Shiism in Iran. Was it
    performed differently during the Qajar period?

    AS: Ta'ziyeh is a traditionally religious genre and in Tekkiyeh Dowlat
    it was performed more dramatically with many embellishments, with
    music, other accessories and theatrical equipment during the month of
    Muharram and Safar. So the first religious theatre space is Tekkiyeh
    Dowlat and the first classical theatre space is Dar al-Fonun.

    MAA: Did the world of classical theatre in those times reach out to
    people from all layers of the society or was it restricted only to
    cliques?

    AS: Classical theatre in Iran was entirely an intellectual phenomenon,
    mostly restricted to the narrow circle of the elite and those educated
    in the West. These groups realized that many of the Western elements
    in the translated plays had to be nativized. When Moliere's Tartuff
    was translated, it was staged under the title of "Haji Riyahi Khan".
    Even the first actors were of Armenian descent and so they did not
    sound completely Iranian. Gradually they were replaced by jesters and
    comedians at the palace court who were not literate and because they
    could not read the texts, they had to improvise, in the process of
    which more Iranian elements were integrated into the plays. Of course,
    Ta'ziyeh which is rooted in the religious beliefs of the Iranian
    people was accepted with more enthusiasm as a public art.

    MAA: So dramatic arts were performed prior to this period as there
    were already comedians at the court?

    AS: After classical theatre and Ta'ziyeh, the comedies performed at
    the court were the third form of theatre in Iran of that time. The
    court jesters performed a genre known as Baghghaal Baazi (literally,
    shopkeeper play) which later matured into Siah Bazi (black play) and
    Takhte Howzi (a genre of folk drama).

    MAA: What is Baghghaal Baazi?

    AS: It is a type of play that actually emerged during the Safavid
    dynasty (1501-1736). It mainly revolves around the story of a
    baghghaal (a shopkeeper) and a man who plays different tricks on him.
    It was a form of light comedy, like farce, mainly for entertainment.


    Kheymeh Shab Bazi (puppetry) with a morshed (elder and narrator) and a
    musical performer
    MAA: What happens in theatre after the Qajar period?

    AS: In the first half of the Pahlavi period (1925-1941) due to the new
    social conditions theatre halls were built one after another in the
    Lalehzar district (the art street of Old Tehran). After 1941 and with
    the downfall of Reza Shah, theatre enjoyed a brief relative freedom
    until 1953 when theatre was at its peak and there were about 40
    theatre halls in Tehran.

    MAA: So at that point theatre was no longer limited to coteries?

    AS: Yes. The number of theatre halls during this time shows how the
    public had eagerly embraced theatre.

    MAA: But this was restricted only to the capital. What about other cities?

    AS: Tehran and a few major cities. Tabriz is among the first cities to
    embrace theatre and even opera houses. Several honarestan (art
    schools) dedicated to acting were founded during the first half the
    Pahlavi period. Even an opera house was built on Ferdowsi Street in
    Tehran which is currently a bank building, but you can still see what
    remains of its round structure.

    MAA: Cinema came to Iran shortly after theatre. What were the
    repercussions of this new phenomenon on theatre?

    AS: Cinema was only five years old when it first came to Iran. It was
    actually theatre that helped to raise cinema as a new art in Iran.
    Many theatre actors would go to cinema halls to elaborate the story of
    the silent films for the audience and so, gradually theatre fans found
    themselves also at the cinema. Even some theatre halls were replaced
    with cinema halls and finally it was theatre actors who ended up in
    films. So of course, theatre then faced more challenges than before.
    Because cinema can reach out to the masses, it is more of a public art
    and also because it is quite editable, it has prevailed more. One
    could say that theatre and cinema have somehow managed to thrive and
    exist alongside each other.

    MAA: But even to this day cinema has a more populous audience compared
    to theatre. Can we say that theatre in Iran is still somehow
    classified as the art of intellectuals?

    AS: Not only in Iran, it is almost the same everywhere else. Theatre
    is the art of the elite and cinema is a much more common art. Compared
    to cinema, theatre cannot attract a large number of people to itself.
    People who go there are usually already accustomed to the art of
    theatre as a social and political critique which opens spaces for
    discussion and thinking.

    MAA: And is this not a limitation?

    AS: No, because some other forms of theatre like street theatre can
    actually relate more to people but in its entirety, the essence of
    theatre appeals more to certain crowds in a way that it does not to
    others. There are other types of theatrical performances that exclude
    this definition but in its classic and ultimate sense, theatre
    attracts certain groups of people while cinema has created the space
    to draw more people from different walks of life.

    MAA: Some cultural experts believe that one of the many functions of
    art is to elevate and upgrade culture. If theatre is restricted to the
    elite, then how can its repercussions reach all layers of the society?

    AS: A bus driver drives a bus but the idea of theatre is to become the
    driving force of the bus driver. This is what we say when we want to
    talk about theatre as a sublime art that attempts at uniting people
    from different layers of the society by relating to them. Before the
    advent of cinema, theatre was very popular and perhaps if the process
    of going to the theatre was not disconnected due to the emergence of
    cinema, then today going to the theatre would probably be a part of
    the Iranian lifestyle, just like going to the cinema which was
    previously a family tradition during weekends. Theatre is one of the
    many faces of civilization as its core meaning is founded on the idea
    of democracy, to embrace one and all. For a few years now, our motto
    at the International Fajr Theatre Festival has been "Theatre for all".

    MAA: How is it possible to have a theatre for all?

    AS: By defining short and long term goals and planning ahead. By
    establishing more theatre halls and creating spaces for democracy and
    prevalence of this art. Theatre means the prevalence of social
    criticism and thinking. Whenever we go to watch a play, we contribute
    to the criticism of the society and disapprove of its vices. Theatre
    also aims at pleasure and entertainment but with a purpose and it
    enfolds sublime cultural concepts.

    MAA: From its very beginning, going to the theatre is like a ritual.

    AS: Precisely. Many theatre theoreticians have defined theatre as a
    ritual, a ceremony, even like going to the temple. It is indeed among
    the first human arts and it deals with humans and humans are its
    subject matter and as we said it helped to promote cinema. Cinema is
    theatre where industry and technology are at its service through
    visual effects. Of course, cinema has also evolved to have a unique
    definition today but in general one can say cinema is one breath away
    from theatre and that breath is live performance which is the most
    attractive and unique feature of theatre, incomparable to any other
    art. Theatre is a combinative art that embraces other arts like music,
    poetry and painting. It is also an artistic teamwork.

    MAA: So what about teleplays? Do you think a play loses its intended
    function when it is recorded or adapted for television?

    AS: Teleplays are a form of theatre. Before 1979, people used to watch
    live theatre on television just like the way they can now watch live
    football matches at home. There were also previously popular radio
    plays which brought people and theatre closer. Going to the theatre is
    like a ritual and because of its live performance it, is seems more
    credible than the illusion of a television image.

    MAA: So if we want to define certain features exclusive to Iranian
    theatre, what would they be? What is the contribution of Iranian
    theatre to world theatre in general?

    AS: Iranian theatre is majorly based on dialogue. It is more about
    diction than action. We have a strong oral tradition particularly due
    to the form of our literature and poetry which is so entrenched in our
    day-to-day life and conversation. Iranian art is poetry, music,
    painting and architecture. Iranian art is the Persian carpet. There is
    a carpet in every Iranian house.

    MAA: And a book by the Persian poet Hafez and a copy of the Holy Quran.

    AS: Yes, and these are the factors that actually impact theatre in
    Iran. Iranian theatre is so intertwined with religious arts, before
    and after Islam as Iranians have always had an inclination for
    theological knowledge. Iranian theatre in its more systematic and
    religious mode is represented through Ta'ziyeh which is a completely
    Iranian genre and in terms of comedy we have the genre of Takhtehowzi.


    Roohowzi which was previously an independent comic genre and staged
    outdoors is now an entr'acte in Iranian folk theatre and comedies
    MAA: Is Takhtehowzi another name for Roohowzi? Can you please explain a little?

    AS: Yes, during the reign of Ahmad Shah (1909-1925), two Iranian
    artists Abbas Moases and Ahmad Moayed decided to expand the genre of
    baghghaal baazi for the first time by performing on a wooden board
    covering the howz (a centrally positioned symmetrical axis pool in
    traditional Persian architecture), hence the name roohowzi (on the
    howz) or takhtehowzi (takhteh: wooden board, wooden board on the
    howz). As the howz is situated in the center of the back or front
    yards and gardens, people could watch from rooftops, terraces and
    windows and this made it a very public form of art. Roohowzi and
    Ta'ziyeh are the signature styles of Iranian theatre.

    MAA: How do you see the future of Iranian theatre in the 21st century?

    AS: Theatre like any other phenomenon will have to endure
    transformations in order to adapt to the needs of the times but it
    will continue to live and evolve. Today theatre is getting closer to
    the realm of performance. In addition to dramatic diction, theatre has
    and is experimenting with new forms. Visual arts, lights and sounds
    can shift the focus of the play from dialogue to other aesthetics and
    this transcends the traditional definition of theatre where you have
    the classic protagonist and antagonists and so on. Theatre will
    continue to evolve as a human truth and a human concept, for as long
    as humans exist, theatre will thrive even if it changes forms. It will
    always preserve its allure due to the essence of live performance. It
    is also among the best cultural communication forms and can bring
    people closer. Even if we don't know the language of a play, we may
    lose some information on the literature but not the dramatic
    performance which is comprehensible regardless of language. Language
    is just one of the many elements in theatrical structure and visual
    language is also as significant. Primitive man used body and sign
    language too. Theatre is not an oral art. Visual elements like
    mise-en-scène, actions and facial emotions which have an archaic
    relationship with the human mind and can create human situations are
    as significant and perceivable regardless of time and space.

    Health & Theatre
    Drama Therapy in Iran

    Like other artistic realms which deal with human emotions and the
    vicissitudes and experience of human life on earth, theatre too can
    have therapeutic effects, promoting mental health and facilitating
    individual and communal growth. As a relatively new form of therapy,
    it has caught the attention of experts as a creative method in
    rehabilitation of mental health patients.

    Although drama therapy is practiced in the West as an effective method
    in the overall betterment of mental health patients, it is not as old
    in Iran. In fact, the first instance of drama therapy can be traced to
    the Hafeziyeh Mental Health Center of Shiraz, back in 1960.

    In the recent years, however, experts of occupational therapy and
    dramatic arts have employed drama therapy at rehabilitation centers
    for the disabled and veterans of the Iraqi imposed war against Iran in
    the 1980's.

    This method was first used successfully in the treatment of war
    casualties (mental health groups) less than 10 years ago at Tehran's
    Sa'aadat Abaad Mental Health center. Group treatment of patients is
    first controlled through medicine after which therapeutic plays are
    chosen for them according to their specific individual traits and
    history. In this method, patients have the opportunity to express
    their internal conflicts behind the mask of a role and acting by
    developing different dramatic techniques. This is also a good chance
    for patients to internally familiarize themselves with their emotions
    and needs and to reform and improve their mental health balance.


    A poster of the Iranian puppet Mobaarak (literally, celebrated or felicitated)
    Facts

    1- Ta'ziyeh (mourning play) usually performed during the month of
    Muharram and Safar was registered on UNESCO List of the Intangible
    Cultural Heritage of Humanity in November 2010.

    2- Kheimeh-shab-bazi (literally, night-tent play) which peaked during
    the Qajar period is Iranian traditional puppetry performed in a small
    chamber. There are two people involved in the performance: a musical
    performer and a person called morshed (the elder, the narrator and
    also a character). The dialogue is between morshed and the puppets.
    Instances of this dramatic art can be found in Persian poetry as early
    as 7th and 8th century.

    3- In the month of Muharram and Safar, theatre and cinema halls are
    closed except for staging mourning and religious plays like Ta'ziyeh.

    4- There are over 40 theatre halls active in the city of Tehran.
    Khaneh Honarmandaan-e Iran (House of Iranian Artists) is one of the
    many happening art places in the city where artists and art lovers
    often mingle and plays are staged.

    5- Ta'aatr-e Shahr (City Theatre) also known as the heart of Iran's
    theatre was opened in 1962. It is the largest theatre in Tehran and
    the Middle East. Situated in the south-east side of the Vali-Asr
    square, the complex was initially a fun park where circus groups
    performed during the weekends. It currently has 8 sections and 5
    theatre halls as follows: Main Theater Hall, Chaharsoo Stage,
    Ghashghaei Hall, Sayeh Hall, Kargah-e Namayesh (workshop). Other
    sections include a library, the theatre archive and documents centre
    and a conference hall.

    6- The first play staged in the main hall of the City Theatre was
    Antoine Chekov's `The Cherry Orchard' directed by Arbi Avansian.

    7- Another happening theater site is the Talar-e Vahdat (Unity Hall)
    in Tehran. At times, theatre students and budding artist stage various
    types of dramatic performance in the cafés of Tehran.

    8- Built a little before 1961, Sangelaj Theatre hall is probably one
    of the oldest classic theatre halls and was well-equipped even from
    the start. This complex was unique for its technological facilities,
    accessories, light and sound quality and architectural acoustics.
    Performance of Iranian plays and the contribution of the national arts
    groups made this theatre the cradle of Iranian dramatics and the first
    Iranian theatre site. The building has historical value as it has been
    a witness to numerous social, cultural and political changes.

    9- According to the Sassanid history, the first female dramatic artist
    was known by the name of "Azadeh Rumi" who was a khonyagar (versatile
    performer, musician and storyteller) at Bahram-e Goor's court (the
    fourteenth Sassanid King of Persia (421-438).

    10- The first Iranian woman stage director is Mahin Abbas Taghani
    better known as Mahin Oskouei (1929 - January 2006), Iran's pioneering
    female theater arts figure. She studied in Russia alongside Jerzy
    Grotowski, and her career included all aspects of Iranian theater,
    including writing plays and translating.

    11- The first plays in Iran were staged as early 1886. At that time,
    theatre was acknowledged as a masculine art and not only women could
    not enter the realm of theatre and men performed the role of women but
    they were also prohibited from attending plays.

    12- Born in 1912, Iran Daftari is the first Iranian woman who
    performed in a play on stage.


    Holy Defense Theatre emerged as a result of the Iraqi imposed war on Iran
    13- Although theatre came to Iran about one and half century ago in
    its classic sense, street theatre is a much older concept. Iranian
    religious and national rituals like naghali (storytelling), Shahnaameh
    Khani (dramatic poetry reading) and other forms of art were performed
    outdoors and in the public.

    14- Ta'aatr-e Defa'e Moghaddas (literally, Holy Defense Theatre) is a
    relatively new genre which emerged during and after the Iraqi imposed
    war against Iran in the 1980's. This genre is expressive of the war,
    its aftermath and the religious and national beliefs and ideals that
    pertain to defense.



    From: Emil Lazarian | Ararat NewsPress
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