PERFORMANCE IN IRANIAN CULTURE SYMPOSIUM

BARBICAN CENTRE, LONDON

29 NOVEMBER 2008





As part of its season, IRAN: NEW VOICES, the Barbican Centre presents a one-day symposium on PERFORMANCE IN IRANIAN CULTURE. The symposium examines the state of contemporary Iranian theatre through its indigenous forms and traditions, the impact of Europe and modernism and the upheaval of the Islamic revolution. The symposium is scheduled around three sessions. The first session will shed light on the traditional forms of performance both in the popular and religious genres and examine their artistic, social and political role in Iranian society. The second session will examine the impact of European influences and the evolution of these art forms within that cross-cultural context. The final session will discuss the role of dialogue in Iranian theatre both the intra- and intercultural contexts, examining its social and political relationships, issues of working under censorship, going across borders and the dialogue with UK and European audiences.




THEMATIC GUIDELINES

SESSION 1.

A Historical Background: Iranian Performance Art and its Traditions, Roles, History, Music, Politics.


This historical section should be factual and shed light on this little known and represented aspect of Iranian culture, unique in the Middle East. The overview should kick-start the day by presenting these authentic, indigenous and even ancient forms, which have been practiced in Iran despite the Islamic disdain for ‘representational’ art concerning the human form. Like other areas of the arts, Iran has had a unique tradition of performance arts, sometimes as ritual and sometimes as entertainment. Presentations should aim to make use of visual materials in introducing the forms; this will help make the session accessible and engaging.

The session could introduce the distinct categories of traditional Iranian theatre in terms of:

a) Popular Forms (e.g., farce and satire, puppetry, musical theatre, history plays)

b) Rituals / Religious Forms (e.g., various versions of ta’ziye, and comparative analysis with mystery plays, miracle plays and passion plays; Sufi dance/trance; zaar; aza, roze, nohe)


SUGGESTED PAPERS:

The Trance and Ritual Theatre
Passion and History Theatre
Musical and Oral Tradition
Satire and Comedy




SESSION 2.

Modernity: Contemporary Iranian Theatre Through The Influences from Europe


This session introduces a brief history of Modern Iranian theatre: the first Persian play texts written for the stage in the 1920s and the first women on stage, the modernist establishment of the Nooshin Group banned after the political coup of 1953, the emergence of the avant-garde Theatre Workshop in the 1960s, the state control and sponsorship leading to the creation of the Tehran City Theatre and the Roudaki Opera House - the biggest stages of the Middle East - in the 70s, followed by a total ban by the Islamic authorities after the revolution in 1979 and the re-emergence during the reformist takeover of the 90s. The panel should explore the expressions of modern (pre-revolution) and contemporary Iranian theatre examining its aspects, aesthetics and role in the shaping of a cultural identity. It should take into account classical and avant-garde influences from Europe, the role of women, the role of the state, and the modernity vs. tradition debate in today’s artistic landscape of Iran. Presentations should aim to use visual references as much as possible.

The session could introduce the different aspects of modern and contemporary Iranian theatre in terms of:

a) A Historical Overview (1920-30s to present)

b) Women on the Iranian stage (the history, roles and influences of women)

c) Influences of Europe (absurdist theatre: Beckett through Pinter; experimental theatre: Growtowsky, Artaud, Boal, Brecht, Kantor, Brooke)

d) Post-revolutionary theatre (the genres: mainstream, experimental, music, children, dance; its role in defining an authentic cultural aesthetic or identity)


SUGGESTED PAPERS:

Iranian Theatre: Modern and Contemporary
Iranian Minimalism - Authentic and Derivative
Islamic Revolution: The End or the Beginning of an Authentic Voice
Women on the Iranian Stage
Cultural Expression and Communal Action




SESSION 3.

Contemporary Iranian Theatre in the Intra- vs. Intercultural Context


The final session should conclude the symposium with the cross-cultural contextualisation of Iranian theatre and its relationship beyond its borders, especially with the UK. The aim is to open dialogue with UK audiences and practitioners in exploring intercultural boundaries. The session should introduce the role of contemporary Iranian theatre in the construction of a cultural identity and social engagement abroad. In this context, it should also discuss the export of culture as an exotic commodity in a post-colonial, globalised, intercultural context with reference to the new wave of Iranian theatre abroad and in particular the UK. Finally, it cannot ignore the question of working under censorship and the panel should address the issues relating to art within censorship. Presentations should aim to be accessible and inspire debate. Speakers should aim to relate the bigger themes to everyday and practical experiences through personal and professional anecdotes. This session should be audience-driven, allowing for a sharing of working experiences.

The session could explore contexts of contemporary Iranian theatre beyond the borders in terms of:

a) Culture as Exotic Export (discussed anecdotally through the experiential perspective of an Iranian practitioner in London)

b) Artistic Freedom (comparing two opposing realities: the non-commercialised, state-controlled vs. the non-controlled, commercialised contexts)

c) Dialogue with the UK audience (considering different aspects of the cross-cultural dialogue and collaboration)



SUGGESTED PAPERS:

The Exotic Export: The Eye of the Beholder
Social Engagement in the Intra- vs. Intercultural
Cultural Passage Beyond the Border Politics
Race, Culture and Myth of the Authentic
Knowledge, Power and the Construction of the Other
Artistic Freedom: Political or Commercial
Validity and Censorship