نوع مقاله : مقاله پژوهشی
نویسنده
دانشجوی دکتری مطالعات تئاتر، دانشکده موسیقی و هنرهای نمایشی، پردیس هنرهای زیبا، دانشگاه تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
Since the very beginning of the emergence of western-style theater in Iran in the 19th century, the existence of this new art has been tied to censorship. Mirza Jafar Gharachedaghi, when translating the collection of plays by Mirza Fatali Akhundov (Akhundzadeh), the first Iranian playwright who wrote his works in Azeri Turkic, changed the names mentioned in these plays so that the anger of famous people whom the author had criticized would not cause trouble for the translator. Since that date, i.e., since 1873 AD, various types of censorship, self-censorship, and, of course, avoiding censorship have existed in Iranian theater.
From the first amateur Iranian theater troupe in the pre-constitutional era (1911) such as Farhang Theater to troupes with a regular repertoire in the post-constitutional era such as Iran Comedy, to the professional theater troupes and companies in the Pahlavi era (1925 to 1979) such as the Ferdowsi Theater, the National Art Troupe and Theater Workshop and even the huge number of so-called registered troupes after the Islamic Revolution (1979), all have been struggling with the phenomenon of censorship and many forms of theater censorship in Iran continue to oppress artists to this day.
Since the first theater production in Iran, religious censorship has been the main form of censorship in Iranian theater, along with government censorship and, of course, self-censorship. After the Islamic Revolution and with the rise of religious clerics, these forms of censorship became more intense. During World War II and the Anglo-Soviet invasion of Iran in 1941 and the establishment of the Communist Party of Iran (Tudeh), ideological censorship was added to other types of theater censorship in Iran, and official and unofficial parties still use different methods to censor competing ideologies. Numerous political and social events in Iran, including the constitutional revolution and the Islamic revolution, did not have a significant impact on increasing freedom of expression in Iran, and as a result, creative freedom and dealing with censorship became the main forms of artistic expression in Iran. Since the early years, theater troupes in Iran have used several strategies in their organizational and management structure to deal with and fight against censorship, such as performing theater secretly, recruiting members instead of selling tickets, or cyber performances in recent years. In this article, by examining the management of prominent theater troupes in Iran, we will recognize the strategies that these troupes used to counter censorship.
کلیدواژهها [English]
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