{"id":788,"date":"2019-04-25T13:09:36","date_gmt":"2019-04-25T13:09:36","guid":{"rendered":"https:\/\/www.critical-stages.org\/19\/?p=788"},"modified":"2022-02-06T20:01:24","modified_gmt":"2022-02-06T20:01:24","slug":"iranian-theatre-life-in-the-last-decade","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/19\/iranian-theatre-life-in-the-last-decade\/","title":{"rendered":"Iranian Theatre Life in the Last Decade"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>Mehdi Nasiri<\/strong><a href=\"#end\" name=\"back\">*<\/a>\nand <strong>Pegah Samadzadeh<\/strong><a href=\"#end2\" name=\"back2\">**<\/a><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p><strong>Abstract: <\/strong>This article considers the changing state of Iranian theatre in the last decade. It claims that the current character of theatre has been transformed from a state sponsored monopoly to a privatized competitive environment with many players. The paper examines how private theatres, departments, venues and festivals have evolved in recent years. It also examines the role of criticism, media and press, along with the commoditization of theatre and the taste of new audiences.&nbsp; <\/p><p><strong>Keywords:<\/strong> theatre subsidies, government, private venues, new audiences, festival<\/p><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">Theatre in\nIran is essentially managed by the Department\nof the Performing Arts. In fact, the government itself has been in\ncharge of policy making, planning and, even, the financial management of\ntheatre in Iran for the last 40 years. Thus, in the last four decades, the\nquality of drama has been directly affected by government funding and policy.\nWhenever there has been satisfactory planning, budgeting and support by the\ngovernment, the positive effect has been felt very quickly. At the same time,\nhowever, the government policy has had a very strong influence over the\npolicies and conduct of theatre companies and artists in general. Another\nconsequence of the predominance of the government in the theatre landscape has\nbeen that private sector initiatives in live drama have been short-lived, due\nto insufficient financial resources; in Iran, it is almost impossible for the\ntheatre to sustain itself without subsidy. <\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image1-5.jpeg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-789\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image1-5.jpeg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image1-5.jpeg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption><em>Mississippi Dies Seated<\/em> by Homayoun Ghanizadeh. Photo: Fahimeh Hekmat Andish<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Whilst the\nsituation described above is accurate, it should be said that the government\u2019s\nrole in the theatre ecology has been moderated somewhat (in appearance, at\nleast) in recent years. In the late 2000s, there was a move to start creating\nmore private\/independent companies within the Iranian theatre. The biggest\nbarrier to this process was the lack of sufficient theatre halls. Consequently,\nparticular emphasis was placed upon establishing venues. <\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image2-5.jpeg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-790\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image2-5.jpeg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image2-5.jpeg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption><em>Do not Let this Sleep be Interpreted<\/em> by Mehdi Nasiri. Photo: Fahimeh Hekmat Andish<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">However,\nthe movement towards privatization and independence from government support was\ntoo fast. The implications of the changes were not properly taken into account.\nWith limited permission by the government, small theatre venues were founded in several cities, and direct government\nsubsidies to theatre groups have gradually declined. Consequently, the current amount\nof subsidies only covers a tiny fraction of production costs. An unforeseen\nconsequence of this has been that a notable group within Iran\u2019s theatre\ncommunity (especially senior artists and groups which were accustomed to\ngovernment subsidy) have withdrawn from theatre making. These artists have been\nreplaced by young newcomers to the theatre scene. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the last 10 years, we have seen a notable growth of small and large\ntheatre venues in the big cities of Iran. Theatre companies have found\nappropriate performance space for their productions. However, the significant\ndecline in government support has forced companies to try to cover expenses\nthrough box office takings alone. Some public subsidies are still available but\nonly to around 50 percent of performances (a situation which encourages\nbackdoor connections and networking with administrative offices). <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this sense, we can talk of two distinct eras of Iranian theatre in the\nlast 40 years:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Before 2010: total\ndependence on government budget and subsidies<\/li><li>Since 2010: availability\nof subsidies is limited. Around 50 percent of performances rely on their own\nrevenue<\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">As mentioned above, the reduction in government subsidies has happened\nconcurrently with a flourishing of performance venues. Before 2010, there had\nbeen around 15 venues in Tehran (with an average of 15 productions being staged\nper day). Now, there are about 55 theatres in Tehran, accommodating nearly 100\ndistinct productions per day (in most venues, more than one play goes on stage\neach day).<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image3-5.jpeg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-791\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image3-5.jpeg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image3-5.jpeg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption><em>Memories and Nightmares<\/em> by Ali Rafiee. Photo: Fahimeh Hekmat Andish<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">In Mashhad, the second biggest city in Iran, theatre is also prospering\nremarkably. Between 2010 and 2019, theatre has grown from 10 venues, with about\nfive plays per day, to 18 theatres hosting, on average, 15 plays per day.\nTheatrical production in Iran is mainly limited to Tehran and Mashhad. Besides these\ntwo big cities, one can also name Shiraz, Isfahan, Bushehr, Yasuj, Kerman and\nKermanshah as the cities which account for most of the remaining theatre in\nIran. Significantly, about 95 percent of theatre productions are only presented\nin a single venue, for 15 to 30 days, with no opportunity for any extension or\na revival after that period. Only five percent of productions can be presented in\nmore than one theatre venue and run for more than 30 days. <\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image4-5.jpeg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-792\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image4-5.jpeg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image4-5.jpeg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption><em>Poor Macbeth<\/em> by Ebrahim Poshtkohi. Photo: Fahimeh Hekmat Andish<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Between 2005 and 2010, there was a boom in the teaching of Theatre Studies\nin Iranian universities, with theatre departments in universities all around\nthe country expanding and flourishing. Around 30 theatre departments were\nestablished during that time period. However, 10 of them have subsequently\nclosed, eight face imminent closure and only 12 departments are still active\n(eight of which are located in Tehran). The hasty and reckless development and\nexpansion of theatre departments (especially in the fields of directing and\nacting) has led to a sudden burst of theatre graduates, who outnumber the\navailable professional positions in most cities. Some of those graduates have\nmigrated to Tehran and most of them have ended up in jobs which are not related\nto the theatre. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nonetheless, the large theatre audiences and significant number of trained\ntheatre professionals in numerous Iranian cities have improved the potential\nfor theatrical production. That said, within all 32 provinces and the 100\nlargest cities in Iran, there are people craving theatrical jobs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Aside from Tehran, Mashhad and a small number of other cities, resources\n(including funds, venues and, even, audiences) are scarce. While many trained\ntheatre professionals have to seek work out with theatre, Iran has eight\ninternational, 36 domestic and around 120 provincial festivals which are held\nannually, and in which about 80 percent of staff are theatre lovers or\ngraduates with no experience in professional theatre activity.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image5-4.jpeg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-793\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image5-4.jpeg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image5-4.jpeg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption><em>Richard III Will Not Take Place<\/em> by Rohollah Jafari. Photo: Fahimeh Hekmat Andish<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Theatre festivals held by various institutions and organizations are often\ncompetitive and costly. The most prominent theatre festivals in Iran include:\nFadjr International Theatre Festival, International Ritual-Traditional Theatre\nFestival, Tehran International Puppet Theatre Festival, the International\nTheatre Festival for Children and Youth, and Marivan Street Theatre Festival.\nEach presents at least 100 plays. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The large number of theatre festivals in Iran has inclined most artists to\nprioritise festivals rather than produce for public performance. In other\nwords, most theatre works are produced only to be played at festivals. We can\nnote three main reasons for this exceptional leaning toward festivals:<\/p>\n\n\n\n<ol class=\"wp-block-list\"><li>Lack of required conditions and facilities for public performance in\nseveral cities (except Tehran and Mashhad)<\/li><li>Obtaining prestige and profile by winning trophies and prizes<\/li><li>Earning money (participants in festivals are normally paid a little amount\nas production costs)<\/li><\/ol>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image6-4.jpeg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-794\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image6-4.jpeg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image6-4.jpeg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption><em>If you Had not Gone<\/em> by Ghotboddin Sadeghi. Photo: Fahimeh Hekmat Andish<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Therefore, the preference for festivals over public performance has led\ntheatre companies to adjust themselves to the requirements of largely\nlow-quality festivals. These festivals do not have \u201creal\u201d audiences, as those\nattending performances are mostly producers and creators of other shows in\nthose same festivals. Moreover, the role of critics in festivals has diminished\nnotably over the last decade, which, in turn, has further lowered the quality\nof the work presented at the festivals. Perhaps the only optimistic note is\nthat festivals do, at least, enable theatre practitioners to meet each other\nand create possibilities for collaboration and for making theatre which they\nmight not have otherwise. It should be noted that the most prominent and\nprofessional theatre festivals in Iran are staged by the Department of the\nPerforming Arts, which is a governmental body.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As mentioned above, since 2010, theatre makers in Iran have had to work far\nmore independently of the state than in the preceding three decades. Theatre groups\nhave to come to an agreement with one of the private (or few public) venues\nbefore they initiate production and practice. In order to have their\nproductions staged, they need to rent a private hall for 15 to 30 days. Then,\nwhen the production is ready for public performance, the Council for Supervision and Evaluation,\na governmental body related to the Department of the Performing Arts, watches\nthe play and decides whether to approve it or not. <\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image7-4.jpeg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-795\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image7-4.jpeg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image7-4.jpeg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption><em>With Soft Feathers<\/em> by Maryam Moeeni. Photo: Fahimeh Hekmat Andish<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The box office revenues of staged productions are mostly insufficient to\ncover production costs. Roughly speaking, only around 10 to 15 percent of\ntheatre productions are financially successful, with about 50 percent barely\ncovering their production costs (with little to nothing left for the artists),\nand the remaining 35 per cent (mostly work by young artists and newcomers)\nfailing to cover even their rent and production costs. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In Iran, theatre directors are usually responsible for the management and\nfinancings of their productions. Only a few productions have an investor or\nsponsor, as the high economic risk of theatrical activity has led many\nproducers to lose interest in working in the field. Consequently, only 10 percent\nof plays in any given year have producers. The rest are performed under the\ndirector\u2019s financial management or, even, without any serious initial\nmoney.&nbsp;&nbsp; <\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"613\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image8-4.jpeg?resize=700%2C613&#038;ssl=1\" alt=\"\" class=\"wp-image-796\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image8-4.jpeg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image8-4.jpeg?resize=300%2C263&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption>City Theatre in Tehran, with its various performance spaces is considered the main outlet of Iran artistic theatre. It opened its doors in 1972. Photo: Wikipedia<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The changing situation regarding the financing of theatres in Iran has led\nto the dominance of private venues. This has cultivated a new class of\naudience. Up until 2010, the general public was barely part of the theatre\naudience. Most of the audience was comprised of theatre activists, students and\npeople from the professional classes, who were serious followers of theatre.\nHowever, in the last 10 years, we have observed the emergence of a new type of\npublic audience, who do not have a deep knowledge of theatre and whose interest\nin watching theatre is largely affected by advertising, both direct and\nindirect. For this type of audience, watching theatre is analogous to\nparticipating in a(ny) social event, or even a place to gather. <\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"466\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image9-3.jpeg?resize=700%2C466&#038;ssl=1\" alt=\"\" class=\"wp-image-797\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image9-3.jpeg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image9-3.jpeg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption><em>Memories and Nightmares<\/em> by Ali Rafiee. Photo: Fahimeh Hekmat Andish<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, as theatre venues now have cafes, galleries, or even stores\nwithin them, they are considered as hangouts, or, alternatively, as luxury\ncultural centers by their audiences; to the point that the new breed of\ntheatregoer barely cares about what dramas are being staged. In view of this\nnew situation, one might expect the context and quality of plays to have no\nimportance for the new audience. However, the opposite is true. In fact, the\ntastes of the new public audience very much determine the output of the private\ntheatres. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The primary purpose of the producer and investor is to make money.\nConsequently, based on the preferences of the new public audience, we see on\nthe stages of the private sector a range of famous people (including\nsuperstars, TV and cinema actors, even athletes and comedians). Theatre\nproductions have been transformed into commodities and theatre itself has been\nconverted into an institution for maximizing profit. It has done this by\nadjusting itself to the taste of its audience. For instance, there is now a\npreference for stage comedies, which are continually abandoning any sense of\nquality and losing even the most basic requirements of theatricality. Here, we\nsee a textbook example of the rules of the marketplace dominating the artistic\nsphere of the theatre. In the interest of profit, artistic work is turned into\na commodity and the audience member is transformed into a mere consumer. As\nsuch, the artistic vision of theatre loses its spirit and originality, while,\nat the same time, we observe dissatisfaction and disappointment among most\nprofessional drama artists, skilled players and, especially, younger theatre\ngraduates. <\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"550\" height=\"413\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image10.jpeg?resize=550%2C413&#038;ssl=1\" alt=\"\" class=\"wp-image-798\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image10.jpeg?w=550&amp;ssl=1 550w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image10.jpeg?resize=300%2C225&amp;ssl=1 300w\" sizes=\"auto, (max-width: 550px) 100vw, 550px\" \/><figcaption><a href=\"http:\/\/www.tamashakhaneh.ir\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Shahr Theatre (opens in a new tab)\">Shahr Theatre<\/a>, one of the oldest theatre venues, with two large stages. Photo: Web<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The decline of the print media in Iran, as in the rest of the world, has\nits effects in all areas of society and culture. The problem is particularly\nacute for theatre criticism. Newspapers tend only to report on what is being\nstaged in theatres and festivals. The newspaper theatre review has become a\nthing of the past. Theatre magazines also have dire problems; in Iran, only the\nmonthly <em>Namayesh<\/em> and the quarterly\nmagazine <em>Theatre<\/em> have been released frequently over the last two\ndecades. Theatre reviews are only presented in professional journals and on\nwebsites that are read mostly by professionals in the field. Thus, there is no\nplace for theatre reviews in the press, radio or TV shows. There are very few\npeople interested in writing theatre reviews due to the desperate shortage of\nremuneration for critics. <\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"467\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image11.jpeg?resize=700%2C467&#038;ssl=1\" alt=\"\" class=\"wp-image-799\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image11.jpeg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image11.jpeg?resize=300%2C200&amp;ssl=1 300w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\" \/><figcaption><em>You were Busy Dying<\/em> by Mozhgan Khaleghi. Photo: Fahimeh Hekmat Andish<\/figcaption><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The consequence of the decline in, and marginalization of, theatre\ncriticism is that the few remaining professional critics now have smaller\nreaderships and less cultural impact. The prevalence of internet ticket selling\nwebsites, web forums and the ease of making comments on social media has turned\neverybody into a pseudo-critic. The boundary between the professional theatre\nreview and the everyday commentary of the general spectator has been\neliminated. Alas, the contents of online ticket selling platforms, web forums\nand social media are the most convenient reference points for the public\naudience. It is these online resources, rather than professional reviews, which\nshape their decision-making and choices. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There is a similar issue in publishing, with very few publishers choosing\nto publish books about theatre. Consequently, the available books on theatre\ntheory and history are too old and rarely republished. It is also next to\nimpossible to find new and updated translated books about theatre; which is a significant\nproblem considering the growing number of theatre students in recent years. The\nonly area in which one can find sufficient printed materials is in translated\nplays, which is due to the need for more original plays to be staged. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Aside from such shortages and difficulties facing theatre in Iran, there is\none notable point about the great potential of theatre in the country. Many\npeople (including students, graduates and young artists) are interested in and\ndevoted to theatrical work. They are mostly interested in the production of\nmodern drama, although their productions are diverse. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, the attempts to find new talents and better distribution of\nfacilities and amenities can further cultivate the field. Theatre in Iran is in\nthe middle of a reform. It has developed many new venues, and it is willing to\nexperience modern artistic style and genres. Despite its shortcomings, this\ntheatre keeps going and becoming more independent. It only needs to be directed\nto the right track.<a name=\"end\">&nbsp;<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image12.jpeg?resize=150%2C150&#038;ssl=1\" alt=\"\" class=\"wp-image-800\" alignnone=\"\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image12.jpeg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image12.jpeg?resize=230%2C230&amp;ssl=1 230w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image12.jpeg?zoom=2&amp;resize=150%2C150&amp;ssl=1 300w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"end\" href=\"#back\">*<\/a><strong>Mehdi\nNasiri<\/strong>\n(born 1980, Iran) has a BA in Dramatic Literature from the National Academy of\nScience of Armenia. He is Executive Editor of the theatre magazine<em> Namayesh<\/em> and Executive Manager of\nthe quarterly magazine <em>Theater<\/em> in\nTehran. He was considered one of the best theatre critics in Iran in three\nconsecutive years: 2007, 2008 and 2009. He also teaches theatre at the Aazad\nUniversity. He is Head of the National Association of Theater Critics of Iran.<a name=\"end2\">&nbsp;<\/a><\/p>\n\n\n\n<img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image13.jpeg?resize=150%2C150&#038;ssl=1\" alt=\"\" class=\"wp-image-801\" alignnone=\"\" srcset=\"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image13.jpeg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image13.jpeg?resize=270%2C270&amp;ssl=1 270w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image13.jpeg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image13.jpeg?resize=230%2C230&amp;ssl=1 230w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"end2\" href=\"#back2\">**<\/a><strong>Pegah Samadzadeh<\/strong> (born 1984, Iran) is a freelance translator and scholar in the fields of theatre and literature. She studied dramatic literature. She has been working for <em>Namayesh<\/em>and <em>Sahneh<\/em> magazines since 2016. She is a member of ITCRJ (Iranian Theatre Critics, Reporters and Journalists).<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">Copyright <strong>\u00a9<\/strong> 2019 Mehdi Nasiri, Pegah Samadzadeh<br><em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png?w=750&#038;ssl=1\" alt=\"Creative Commons Attribution International License\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center has-small-font-size wp-block-paragraph\">This work is licensed under the<br>Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mehdi Nasiri* and Pegah Samadzadeh** Abstract: This article considers the changing state of Iranian theatre in the last decade. It claims that the current character of theatre has been transformed from a state sponsored monopoly to a privatized competitive environment<\/p>\n","protected":false},"author":1,"featured_media":789,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[6],"tags":[47],"class_list":["post-788","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-national-reports","tag-by-mehdi-nasiri-and-pegah-samadzadeh","","tg-column-two"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/06\/image1-5.jpeg?fit=700%2C466&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/paUXOT-cI","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/788","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/comments?post=788"}],"version-history":[{"count":2,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/788\/revisions"}],"predecessor-version":[{"id":1297,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/788\/revisions\/1297"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/media\/789"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/media?parent=788"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/categories?post=788"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/tags?post=788"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}