They Didn’t Give Us Permission to Sing Love Songs: A Look on Ruhollah J’afari’s Performance of “Richard III Will Not Take Place”
Ruhollah J’afari’s Richard III Will Not Take Place is an excavation of real historical events. A...
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Iran
Theatre of Inquiry: Matei Vișniec’s “Richard III” Takes Place in Tehran – Interview With Rūhollah J’afarī
About this performance and its director also read Self-Censorship Is a Castration of Ideas: A...
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Russia Meets Iran: J’afari, Vișniec and Meyerhold, Partners of Ideology, Traversers of History
Read Farinaz Kavianifar’s interview with Rūhollah J’afari. On the evening of August 3, 2018,...
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Self-Censorship Is a Castration of Ideas: A Conversation with Ruhollah J’afari, Dramaturg and Director of the Play Richard III Will Not Take Place
Also, about this production, read “Russia Meets Iran: J’afari, Vișniec, and Meyerhold,...
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To Be Public or Private That’s the Question: A Short Note
Around fifteen years ago performing arts in Tehran were bound to perform in six major venues...
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Working Off-Script: Transgender Awareness in Iranian Black Box Theatres: An Interview with Sāmān Arasṭoo
February 15, 2019, Café Markov, Tehran, Iran Sāmān Arasṭoo is an Iranian actor and theatre...
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Creating a Space for Repeating a Domestic Nightmare: A Note on the Performance of “You Were Occupied with Your Dying”
The privatization of theatre in Iran has compelled many theatre directors and producers to become...
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The Inner Monster Of Steve Jobs Comes Alive On An Iranian Stage With Mehrān Ranjbar’s Tale
Written, directed, and played by Mehrān Ranjbar, Steve Jobs was staged from October 18 to December...
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Persian Hippolyte: Hybrid Performance Cultures, Hybrid Identity, And Hybrid Technology
In 2013, Goosan Artistic Group, an Iranian group of performance artists, created a promenade...
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Traditional Storytelling Meets New Media Activism In Iran
In the summer of 2015, I conducted fieldwork in Tehran and Qom, Iran, with a small team of...
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“Mischief”: A Dystopia Full Of Sound And Fury
The first thing drawing my attention before I watched the play was its title. Mischief reminded me...
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Acclimatization: Feminist Iranian Theatre Acclimatizes To Diaspora
Acclimatization refers to the process by which an individual organism adjusts to a change in its...
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“Unpermitted Whispers:” Reflections On The Originality Of “Hopscotch” Performance
Yuval Sharon was recently awarded a MacArthur Fellowship “genius grant” for...
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“Mrs. Pistols” A Requiem For A Dream
Mrs. Pistols is an outstanding example of an Iranian play that meets the intellectual and...
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A Report On Iran’s Traditional And Ritual Theatre Festival
The 18th Traditional and Ritual Theatre Festival was held September 1–6 in Tehran. The festival...
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Nassim Soleimanpour and the Manila Envelope Theatre
Seven years ago, a new play challenged the role of the actor, the playwright, the audience, and the capacity of one individual to travel. The play was White Rabbit Red Rabbit, written by the mysterious Nassim Soleimanpour, an Iranian writer who encouraged the audience to email him with impressions about his play.
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Iranian Theatre, Its Discontinuity and Discontent: An Interview with Amin Azimi, Part II
To read Part I of this interview, click here. Amin Azimi is an Iranian theatre researcher,...
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Iranian Theatre, Its Discontinuity and Discontent: An Interview with Amin Azimi, Part I
Amin Azimi is an Iranian theatre researcher, dramaturg, translator, and director. He studied...
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The Whispers Which Turned to Screams
The Whispers Behind the Battle Line, a tragicomedy by Ali Reza Naderi and directed by Mohammad...
Read MoreDefunded and Defiant, Iranian Theatre’s Path to Become Independent and/or Private
Independent theatres around the world pursue a twofold socio-economic and artistic goal and aim to make financial resources accessible to all individuals and groups as well as developing new theatrical experiences. The broad...
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