Saturday, March 21, 2015
Dispatch from Tehran—33rd Annual Fadjr International Theater Festival, Part 1
HowlRound: The 33rd Fadjr International Theater Festival, Iran’s most visible dramatic showcase, opened in Tehran on a cold and cloudy Wednesday. The festival program is made up of staged plays, radio plays, street performances, workshops, and lecture-demonstrations. Eighty plays from Iran and eleven from Europe and the Middle East, including three collaborations between Iranian and European artists, were staged at ten venues over twelve days, January 21-February 1, 2015. Once again, there was no representation from the United States. - See more at: http://howlround.com/dispatch-from-tehran-33rd-annual-fadjr-international-theater-festival-part-1#sthash.rT8VfeTs.dpuf
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When people discuss "global" theatre, I am always amazed at the contrast between "global" in theory, and "global" in practice. Unfortunately, I think I have frequently fallen prey to the theoretical conceptualization of "global theatre". As a nearly life-long suburbanite, I can drive a half hour into Washington, DC and see any number of plays celebrating a variety of cultures, perspectives, and histories. But I frequently forget about the Middle East as a theatre-producing place, despite the fact that it has a history steeped in drama and theatrical retellings of important religious stories. I think focusing on collaborations like the one fostered by this festival is of the utmost importance in turning the global theatre we conceptualize into the global theatre that has been actualized. Furthermore, there is a great deal to learn from artists like the ones featured about crafting art in the face of hardship. Art, as part of modern and celebrity culture, frequently becomes perceived as cushy, instead of an effective medium through which powerful messages can be relayed.
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