Scripts beyond the stage
DIWAN SINGH BAJELI
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Iranian director Kiomars Moradi talks about the feisty progress of contemporary Iranian theatre.
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OF MAGIC REALISM Kiomars Moradi who brought his play "Grimace" to New Delhi recently.
`Our production `Grimace' is an experimental work that incorporates elements of traditional Iranian theatre and modern theatrical techniques,' says Kiomars Moradi, a director from Iran who brought his production to the Theatre Utsav organised by New Delhi's National School of Drama recently. "Traditional theatre forms are varied and rich and continue to inspire contemporary artists." He adds, "The theatre scene in Iran is today vibrant. The main thrust of new generation theatre practitioners is to create experimental works with a view to assert the national and cultural identity of the country."
A Bachelor of Arts in Dramatic Literature (1997) and a Master of Arts in Theatre Directing (2000), Moradi is a professor at the Department of Arts and Architecture, Azad University of Iran. Winner of several awards, Moradi is today among the three young directors known for their works in the contemporary Iranian theatre world. Ajila Pesiani and Amir Reza Kuhestani are the other two directors who have made a niche for themselves in the field.
Moradi talks about the rich literary and traditional art forms of Iran. He refers to Tazia, which evolved in the late 18th and early 19th centuries. It is compared with the medieval passion play. "Tazia is not performed as popular theatre. It is performed on religious occasions like Muharram. But its elements are being used to evolve a kind of experimental work," says the young director. He also gives an idea of the Iranian puppet theatre, which has been often used as a political allegory to comment on political and social issues.
Discussing the concept of his production of "Grimace", he says, "It is designed in the style of magic realism - a kind of realism in which ghosts and living people live together." As for the acting style he has adopted the technique of Stanislavsky and blended it with the Iranian style, which enjoins the performers to establish a direct rapport with the audience. He breaks the Stanislavsky concept of `the fourth wall'. He has also drawn on the traditional storytelling technique to create a distinctly Iranian style. A richly suggestive production, "Grimace" blurs the boundary between the real world and that of fantasy. Despite the complicated structure and language barrier the performers were able to offer the audience some amusing moments through their acting style. With the format characteristic of Iranian dramatic art, the production comments on the contemporary political and social situations.
Rigid censorship
Despite rigid censorship, Iranian theatre continues to grow. Great Iranian masters of the theatre used heavy symbolism and often farce to convey their criticism of rulers at different points in history. Moradi feels, "Every period in world history has witnessed censorship in different countries to gag the voice of dissent. For a real artist, creation is the keyboard. He need not talk about politics directly. If his or her creation has the profundity and subtlety of expression he or she can express thoughts without courting the displeasure of the rulers. Iranian artists have always fought against rigid censorship and contemporary theatre practitioners are continuing this tradition, experimenting with new expressive means, taking native Iranian materials."
Not long ago the festival of arts in Shiraz offered Iranian directors the opportunity to see the works of the world's major avant-garde directors, including Peter Brook, Jerzy Growtowski and Robert Wilson, besides showcasing traditional performing arts of Asia, Africa and Latin America. Are similar international theatre festivals being held in Iran? Moradi says an international theatre festival is held in Tehran. It is an important cultural event of the country.
"We have several national level theatre festivals like Fajr Theatre Festival and the Iranian Spring Festival. The State is funding these festivals. Similarly, theatre groups are supported by the Dramatic Art Centre of Iran. Our Prod Tajrobeh Theatre Group, Tehran, is being assisted by the same council."
Moradi is happy he could participate in the Indian theatre festival and pleased with the kind of technical assistance he received from NSD's technicians.
"They are excellent at their work. They executed with precision the complicated design of the production."
Moradi made the film "Green Green Family" for UNESCO in 2001. Iranian art cinema has received accolades throughout the world, especially since Abbas Kiarostami won Palme d'Or at Cannes in 1997. At the International Film Festival of India-2005 in Goa, the Iranian film "Iron Island" by Mohd Rasoul got the top award. Compared with Iranian cinema, Iranian theatre is not able to come to the international spotlight.
Moradi comments, "Iranian cinema is very personal. The filmmakers reveal their own vision and aesthetic perception. In contrast, Iranian theatre has a wider perspective. It is easy to show cinema to any part of the world, but presenting a theatrical performance is very difficult and requires a high budget. So we have not enough opportunity to show our theatre to the international audience. I hope within a few years Iranian theatre will attract the attention of the world and would definitely be recognised for its artistic excellence."
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