Fathali oveisi biography examples
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The blurred past of Iranian theater
1In this essay, a historical survey of dramatic forms in Iran will be presented. However, it is exactly with these terms, i.e. “History” and “dramatic forms”, that disagreements and controversies begin. Therefore, it is important at the first stage to consider and try to elucidate the problems related to this concept.
2First, except for cultural universals which are common worldwide, several reasons make it difficult to identify the main origins of some early forms of Iranian dramatic performances. For instance, the geographic position of Iran led to the historical contact with ancient Rome, Greece and Byzantium; and the acceptance of Islam opened the gates of Iran to the Arab world. So, it is obvious that there are many cultural similarities between Iranians and other nations and cultures. Also, On the other grabb, Iran is a multi-ethnic samhälle composed of Persians, Azeri Turks, Kurds, Lurs, Turkmens, Iranian Arabs, Baloch and others (mainly Ta
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The influence of Iranian traditional theater on modern theater
Dr. Ali Shams
A look at Western-style theater
As inom mentioned in the second chapter, the first Western style of theater was presented in Iran, after the founding of the Meli Theater (National Theater) in and after the constitutional revolution. Writers and intellectuals began translating European comedies and original Persian plays were also written. Kamal Alvozara (), Mirza Deshghi (), Seedi (), Beyzaei () and Radi () are the most famous playwrights of modern Iranian theater since the time of the Pahlavi dynasty. The Islamic Revolution of stopped all cultural activities of the Shah's regime including theater and started different types of cultural programs with Islamic standards. Imam Khomeini (), the leader of the Islamic revolution, repeatedly made references to the arts in his speeches: "Only those kinds of arts and artists who tell the story of the poor and poverty and fight with capitalists who rape property pe
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Abbas Kiarostami (Persian: عباس کیارستمی [ʔæbˌbɒːs kijɒːɾostæˈmi] (listen); 22 June – 4 July ) was an Iranian film director, screenwriter, poet, photographer, and film producer. An active film-maker from , Kiarostami had been involved in the production of over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy (–), Close-Up (), The Wind Will Carry Us (), and Taste of Cherry (), which was awarded the Palme d'Or at the Cannes Film Festival that year. In later works, Certified Copy () and Like Someone in Love (), he filmed for the first time outside Iran: in Italy and Japan, respectively. His films Where Is the Friend’s Home?, Close-Up, and The Wind Will Carry Us were ranked among the best foreign films in a critics’ poll by BBC Culture. Close-Up was also ranked one of the 50 greatest movies of all time in the famous decennial Sight & Sound poll conducted in Kiarostami had worked extensively as a screenwriter, film edi