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I see the capacity of art development in the management of the 13th government as a source of confidence

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I see the capacity of art development in the management of the 13th government as a source of confidence

the doctor Tajbakhsh Fanaian In an interview with IRNA theater reporter about the Fajr Theater Festival and its impact on the development of the performing arts in the country, he stated: The festival has two procedures; Structural procedure and content aspect. From a structural point of view, I don’t think that this event will lead to many new events unless possibilities are considered in the decision-making process. For example, more work should be done in the field of research during this festival period.

It can almost be said that the audience, producers, managers and officials express dissatisfaction with what is happening on the theater stage.

He continued: In the field of content; The structure and themes of the festival seems to be approved by all friends that in these forty years of holding festivals in the course of theater in the country, no one has been fully satisfied. It can almost be said that the audience, producers, managers and officials express dissatisfaction with what is happening on the theater stage. Apart from the exceptions that can always happen but it does not turn into a flow. We have not yet seen something that satisfied and convinced a part of the theater body to express their satisfaction. We do not see this expression of satisfaction from one person, even if someone is really satisfied, he cannot say that he is really satisfied!!

I see the capacity of art development in the management of the 13th government as a source of confidence

Satisfaction with Fajr theater is more superficial and in the heart it is the opposite approach

This university lecturer pointed out that there is so much confusion in the atmosphere of the theater and there is so much dissatisfaction that if someone says they are satisfied, they will be accused, and he noted: Therefore, everyone refrains from expressing their satisfaction. Therefore, what we have seen is dissatisfaction from all elements involved in the theater, including the audience.

He added: “The festival has the same problem of dissatisfaction from the public involved.” Sometimes dissatisfaction rises from those who, for example, participated in the festival and thought it was permissible to take their right and did not take it. Sometimes there is no objection in this sense, but overall, not much satisfaction is achieved. But there is still the expectation that the festival should emerge as an event in the country that is the result of the collection of Iranian theater. But this important thing is not realized due to the confusion that I mentioned.

Based on this, due to structural, thematic, content and artistic disturbances, the festivals are in such a way that no one is satisfied and they have not achieved much. That is, if there was no Fajr Theater Festival, my personal opinion is that the flow of theater would have continued as it has been until now.

This member of the policy making council of the 41st Fajr Theater Festival stated: Of course, in this area, I am referring to the Fajr Festival and maybe there are other themed festivals that have caused people to enter the theater profession through those festivals. This issue has happened in the form of an incident in some cases, but we saw this happening less in the Fajr festival.

I see the capacity of art development in the management of the 13th government as a source of confidence

I see the government’s determination to overcome the chaos of the theater as serious

As a rule, I see the capacity of this in the current management, which intends to develop and organize the organization, not in an imposed way, but I emphasize that they consider the organized.

Emphasizing that when I accepted and joined this esteemed group as a member of the policy-making council, it means that I like the thinking of this administration and take it seriously, he said: My expectations are neither low nor limited; In a way, if a certain type of show is going to become popular in Iran, I will go to it and support it. As a rule, I see the capacity of this in the current management, which intends to develop and form an organized organization, not in an imposed way, but I emphasize that it is organized. Necessity demands that any organization that has the desired growth in its mind and ideas and supports it, its goals and methods should be compatible with each other in order to move towards the destination.

When the goal is clear, one hopes that the theater will find order and be saved from this chaos where everyone is unhappy.

This writer and researcher in the field of performing arts noted: As a rule, the realization of any goal requires compliance with various aspects related to that goal. That is, as much as only dealing with material issues does not cure pain, just dealing with content issues does not bring us to the goal. Therefore, all these elements must go hand in hand.

My experience tells me that the new management group wants to reform various aspects of the theater based on the desired goals, and those goals are usually in the pursuit of the national theater. We still haven’t reached an agreement on a national theater, what is a national theater? Anyone who performs a work on stage says that this work represents the entire nation of Iran and the history of Iran. This is a claim and anyone can do it.

I see the capacity of art development in the management of the 13th government as a source of confidence

Iranian culture is a culture whose foundations are clear

Fanaian stated that the national theater also has its own characteristics: the national theater can emerge in the geography of the culture of a country and a people. The cultural, political, factional, and cross-sectional geography of Iran has been known throughout the centuries. The cultural geography of Iran is known to those who do research. It has the ability to be recognized and transmitted from one person to another, from one person to another or from one person to another. It means that it is not a baseless culture, Iranian culture is a culture whose foundations are clear. On the basis of this culture, art can be shaped and organized because the base of Iranian culture is ready and this is not a difficult task.

He reminded: We have great writers, philosophers and mystics. We are benefiting from such people right now. But over the years these cultures seem to have lost their signs. There has been a confusion regarding the recognition of the culture of Iran and everyone makes comments about this culture without the necessary studies. Especially in the form of art, everyone considers themselves free to say whatever they want. But at least we have not paid attention to this, whatever they want to say, “they are sad”.

This means “say whatever your heart wants!” The heart must first be narrow and there must be longing for something. Anxiety can be social; Concern can be religious; The concern can be family and it can be the concern of love. Love in its true meaning, not today’s childish love games! Love is the concept that our poets and mystics have talked about.

Actually, when these concerns exist, our culture has a lot to say based on these concerns. Iran’s geography culture; Reasoned culture; provable; It is transferable and acceptable to other cultures. Because it has a very rational and logical support.

In the end, Fanayan said: based on such a culture, if theater and other arts find their form, we will have a great art and we will have an art that, based on the philosophy of unity in the same multiplicity and plurality in the same unity, while having a single theme, will be able to express many diverse subjects in The world of art should search. And each artist should create new works from that single theme according to their own taste and understanding. This Iranian culture, that is, the culture of unity at the same time as plurality and plurality at the same time as unity, compels us to work both thematically and very diversely.

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