Googoosh, a prominent Iranian artist in her ageless exile
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Let's complete the names of the students of the Faculty of Dramatic Arts from 1964 to 1979.
با تبریک سال نو به همه استادان و دانشجویان دانشکده هنرهای دراماتیک دانشجویان و استادان گرامی دانشکده هنرهای دراماتیک ، درصدد هستیم لی...
Differences between two old artists/ Farrokhzad and Iraj
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دو هنرمند، یک عصر؛ دو انتخاب در برابر تاریخ فریدون و ایرج
فرق میان این دو خواننده و هنرمند در چیست؟هر دو در روزگار شاه فقید برآمدند؛ هر دو خواندند، آفریدند و بخشی از خاطره هنری یک نسل شدند.اما سرنوشتشان پس از انقلاب، هر یک مسیر کاملاً متفاوت را انتخاب کردند با مردم با حکومت ؛ مسیری که شاید ارزش هنرمند را نه فقط در آثارش، بلکه در انتخابهایش در روزهای دشوار تاریخ نیز به پرسش میگیرد. ایرج، صدایی ماندگار و محبوب، با نامی که برای بسیاری از ایرانیان با خاطره سینما و صدای خوش فردین گره خورده است؛ هنرمندی که سالها در میان مردم ماند و زندگی خود را ادامه داد، بیآنکه به رویارویی سیاسی و اعتراض آشکاری با حکومت تازه تن دهد.در سوی دیگر، فریدون فرخزاد جلوی حکومت ایستاد و از مردم دفاع کرد و بازم ایستاده بود؛ هنرمندی متفاوت، جسور و بیپروا که پس از انقلاب، راه دیگری برگزید. او فرار و تبعید در غربت را پذیرفت، از وطن دور ماند و بهای مواضع و مخالفتهایش را پرداخت؛ هنرمندی که صدایش دیگر فقط صدای موسیقی و سرگرمی نبود، بلکه به اعتراضی علیه فضای سیاسی و اجتماعی حاکم تبدیل شد.اینجاست که پرسش اصلی شکل میگیرد: آیا هنرمند فقط با اثرش سنجیده میشود، یا با موضعی که در برابر رنج مردم و قدرت حاکم اتخاذ میکند نیز باید قضاوت شود؟ آیا سکوت، همیشه به معنای همراهی است؟ بنظرم بله همراهی و دور شدن از مردم است آیا نپیوستن به مخالفت سیاسی، الزاماً به معنای حمایت از حکومت است؟ بله به معنای قبول صدای حکومت است و از سوی دیگر، آیا اعتراض و پرداختن هزینه، بهتنهایی برای اثبات «هنرمند مردمی» بودن کافی است؟ایرج مسیر سکوت و ادامه زندگی هنری را برگزید؛ فرخزاد راه اعتراض و پرداخت هزینه را.یکی ماند و همراه حکومت شد و از هنر خود و زندگی خویش گذشت نکرد و استفاده کرد . دیگری در غربت، بسیاری از داشتههایش را از دست داد و سرانجام زندگیاش نیز به شکلی تلخ و تراژیک پایان یافت. جانش گرفته شد اما تاریخ، گاهی پرسشهایی را باقی میگذارد که پاسخشان ساده نیست:هنرمند واقعی کیست؟آنکه هنر خود را از سیاست جدا میکند و برای حفظ زندگی و آرامش خویش سکوت میکند؟یا آنکه وقتی جامعهاش در تنگناست، صدایش را بلند میکند و حاضر میشود برای باورهایش هزینه بدهد؟ شاید پاسخ این پرسش را نه در شهرت، نه در تعداد ترانهها و نه در محبوبیت، بلکه در مفهوم عمیقتری باید جستوجو کرد: هنرمند واقعی آن کسی است که در برابر وجدان خویش، مردم و تاریخ، پاسخ روشنی برای انتخابهایش داشته باشد. حالا قضاوت با شماست؛ایرج یا فریدون فرخزاد؟کدامیک را هنرمند مردمیتر و وفادارتر به مردم میدانید؟و آیا سکوت یک هنرمند در برابر حکومت، میتواند صرفاً «بیطرفی» تلقی شود یا گاهی خود نوعی موضعگیری است و همراهی و همکاری با رژیم است |
A tribute to the renowned director and writer, Professor Bahram Beizaei, lecturer at the Faculty of Dramatic Arts.
A memorial to Professor Bahram Beizai, a renowned Iranian director and writer. He was a professor and teacher at the Faculty of Dramatic Arts for many years. In 1970, the Faculty of Dramatic Arts was dissolved, and the professor also became unemployed. At the end of his fruitful life, he passed away in exile and rested there. May his memory be honored. Beside Professor Beizai, Mohammad Motavasalani and Dariush Farhang, two veteran theater and cinema actors, are present.
The School of Dramatic Arts was located in this area, and students from the school passed by it every day.
The School of Dramatic Arts was located in this area, and students from the school passed by it every day.
A tribute to the greatness of a great man named Master Shengle
من قبل بیرون اومدن از ایران در تلویزیون با اینکه کارگردان وتهیه کننده رسمی بودم اما هفت سال شده بود که در تلویزیون و سینما ممنوع کار بودم از بیکاری داشتم دق می کردم اومدم تاتری کار کنم دوستی متن خوبی که ترجمه شده از تنسی ویلیامز رو تصویب کرده بود که کار کنه اما اون دوست گفت تو بیا تو کار کن گفتم باشه رفتیم تمرین کردیم و کار خوبی آماده شد روز بازبینی سه نفر برای باز بینی اجرا تاتر من امدند و تاتر را دیدند ولی اجرا را ممنوع کردند و کار تصویب نشد . زنده یاد آقای اسماعیل شنگله و سعید کشن فلاح و یکی دیگه داور دیدن کار بودند با آقای شنگله در تلویزیون همکار بودیم .گذشت تا مدتی بعد در محله مون نزدیک خونه استاد شنگله همسایه من بود در مجتمع تلویزیون تو شهرک غرب آقای شنگله رو اتفاقی دیدم گفتم استاد چرا کار من رد شد کار اجرای بدی نبود استاد شنگله دست گذاشت روی شانه من گفت مجید کارت عالی بود بخاطر شخص خودت کار رد شد نه بخاطر اجرا همه هم گفتند البته من بهت نظر مثبت دادم اون دو نفر دیگه نظر منفی و کارت رد شد خودت مورد قبول نبودی نه کارت، حسین پاک دل هم از کسانی بود که مخالف بوده و گفته بود قدیمی های مسله دار دیگه کار نکنند گفتم من خودم میدونستم رد میشه ولی همیشه تلاش خودمو می کنم استاد شنگله مردی بزرگ بود . یادش گرامی .
Mr. Ismail Shengleh, a good master of dramatic arts, has also passed away.
آقای اسماعیل شنگله استاد خوب تاترهنرهای دراماتیک هم رفت
- خاطرات مجید بهشتی ازهمکاران و شاگردان استاد شنگله است بمناسبت فوت ایشان برای سایت دانشکده ارسال شده است روزی که با استاد خوب تاتر ایران آشنا شدم پانزده سال داشتم و قرار بود هیت داوران تاتر در جشنواره تاتر های کاخ جوانان در قبل از انقلاب تاتر ما را بازبینی کنند و برای جشنواره تاتر افراد برجسته رشته های مختلف تاتر را معرفی کنند . تاتر ما هم مورد بازبینی قرار گرفت دونفر از داوران آقای پرویز تاییدی ، آقای ایرج زٌهری یکی دیگه از هیت داوران سه نفره آقای شنگله بود تا اون روز اسم ایشان رو نشنیده بودم اما با مردی خوش برخورد و شیرین زبان و آروم روبرو شدم که بیشتر سکوت می کرد تا حرف بزند بعد از دیدن تاتر و اتمام اجرا او خوش آیند خودش رو با یک لبخند و تکان دادن سر نشان داد و گذشت برای بار دوم در پیش از انقلاب برای کنکور عملی دانشکده هنرهای دراماتیک رفتم تا در سالن کوچیک تاتر هنرهای دراماتیک در خیابون ژاله چهار راه آبسردار امتحان عملی انجام بشه که باز یکی از استادان دانشکده و از اعضای هیت انتخاب دانشجو برای بازیگری و کارگردانی آقای شنگله بود بعداز پایان اجرای عملی من باز آقای شنگله با همون لبخند و تکان سر آروم با نظر مثبت رضایت خودش رو نشان داد و با نظر سایر هیت انتخاب موافق بود. گذشت تا در تلویزیون همکاری رسمی خودم را شروع کردم که یکی از مشوقان من بود و رهنمایی کننده در شروع کارم در تلویزیون به عنوان تهیه کننده و استاد شنگله مدیر تهیه کنندگان تلویزیون بودند که بازم با همون چهره دوست داشتنی و مثبت که حالا شاگرد سابق دانشکده هنرهای دراماتیک که سالها در کلاس های درس اون دانشکده بوده به عنوان همکار دارد در کنارش کار می کند. این مرد فرهیخته که از دست رفت از افراد هنرمند بدون حاشیه و بدون حقه و کلک و مهربان استاد اسماعیل شنگله بود که همیشه به من لطف داشت با من خوب بود . در آخرین دیدارهای من با استاد شنگله در مجتمع مسکونی تلویزیون در شهرک غرب بود که با استاد همسایه شده بودم گاهی در خیابانها مجتمع با خوش رویی اسماعیل عزیز روبرو می شدم حالا استاد شنگله کمتر در تلویزیون در طبقه هشتم تولید حضور داشت چون بازنشسته شده بود. اغلب صبح ها که می رفتم به تلویزیون گاهی در مجتمع با اسماعیل جان روبرو می شدم می گفت داری میری سر کار و می خندید همون جا از احوالات هم با خبر می شدیم ، متاسفانه مدتها از ایشان بی خبر بودم تا امروز شنیدم این انسان وارسته و استاد و مرد بزرگ هنرمند فراموش نشدنی از کنار ما پر کشید و به آسمانها رفت یادش و نامش همیشه در تاریخ هنر تاتر ایران و دانشکده هنرهای دراماتیک زنده و جاوید است
A picture from the last student trip of the students of the Faculty of Dramatic Arts to Bushehr in 1979.
A picture of the last student trip of the students of the Faculty of Dramatic Arts to Bushehr in 2010, before the dissolution of the faculty by the Islamic Association and Islamic workers.
Masoud Mehrabi rested in peace and Farhad Tohidi spoke thus:
Masoud Mehrabi rested in peace, and Farhad Tohidi spoke thus:
Professor Parviz Shafa and Masoud Mehrabi Film Magazine
Professor Parviz Shafa and Masoud Mehrabi Film Magazine
استاد پرویزشفا ومسعود مهرابی درمجله فیلم #هنرهای_دراماتیک
Masoud Mehrabi, a student at the Dramatic Faculty, passed away
Masoud Mehrabi was one of the great Iranian cinema and cartoon artists who graduated from the Faculty of Dramatic Arts in the field of cinema. In the early sixties, Masoud founded the monthly film magazine, which has been published until now. He was a good artist and a skilled cartoonist. His work was rich in content, biting and creative. We extend our condolences to all artists, journalists and students of the Faculty of Dramatic Arts on the passing of Masoud Mehrabi. May his memory be cherished.
A memory from the final years of the School of Dramatic Arts
Pictures of students of the Faculty of Dramatic Arts in 1979 and 1980 in the final days of the faculty, which had not yet been dissolved by the Islamic Association and the Islamic staff of the faculty. Throughout the seventeen years of continuous activity of the faculty, the students, thanks to the knowledge and art of good professors, were always prominent in cinema and theater and were very active. What a happy and joyful time they had in these pictures from the final years.
Gita Gerkani, student at the Faculty of Dramatic Arts
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عکاس رضا شریفی
گیتا گرکانی دانشجوی دانشکده هنرهای دراماتیک
در جلوی بالکن ورودی حیاط دانشکده درعکسی بسیار
خاطره انگیز ازدوران دانشجویی سال 56 .
در جلوی بالکن ورودی حیاط دانشکده درعکسی بسیار
خاطره انگیز ازدوران دانشجویی سال 56 .
Professor Rokn al-Din Khosravi with a number of actors from the drama students
Ustad Rokn al-Din Khosravi with a number of actors seated from left:
Mahmoud Hendiani, Majid Beheshti, Mahmoud Jabbari
Sharare Mehrinfar, Hooman Azar Kolah, Ali Sharifian
Top row from left: Atta Kopal, Mahmoud Afshar, Ustad Khosravi
Students of the Faculty of Dramatic Arts in 1960
Pictured from right to left: Mahmoud Johari, Dariush Mudabbian, Mehdi Fakhimzadeh, Nasser Aghaei, Hashem Arkan and seated Morteza Aghili
1960
Me and Saeed Sultanpour, Waiting for Godot Written by: Qasim Seif
Seed Soltanpour, Waiting for Godot by Sirus Qasem Seif
The first scene: Dariush's voice comes out, singing "The smell of wheat is mine, everything I have is yours...." And at the same time, the curtain slowly opens and we see an "intellectual" sitting on a chair in the middle of the stage with glasses on his eyes and probably a tie or bow tie around his neck and a cigarette or pipe on his lips, and he says to us, the "audience":
( In those days when we gathered at the Firouz Cafe, the generation before us had their chairs and we, the teenagers, had our ring. On Mondays, Jalal Al-Ahmad would connect the two rings and.
The light of the intellectual's position goes out.
The light of the intellectual's position turns on.
The intellectual has disappeared and in his place, the director of the play appears, comes to the front of the stage and says to the audience:
( Dear audience, I greet you. I, the director of this play I am. The play you are watching tonight is "Waiting for Godot" by Samuel Beckett. Suddenly, Saeed Soltanpour stands up from his seat in the audience and shouts to the director: (Mr. Director! In this social chaos, there is no time for the theater of the absurd in Iran!).
A terrible silence reigns in the hall, which lasts, according to some, for a few historical moments, and according to some, for a few solar and lunar years, and in those few moments or years, the East and the West, or according to some, Western democracy and the dictatorship of the proletariat, fight each other with ice swords, made by the North and South Poles, and in the crack of those same swords, from a very, very far away, the whisper of the call to prayer reaches the ears, gradually rising higher and higher, and then:
All together and shouting,
Long live,
Death to you,
The sound of gunfire Ha,
Iran Iran Iran, a barrage of machine guns,
The Shah is gone,
Blessed are the springs.
Suddenly, a young man with a gun in his hand jumps into the stage from behind the scenes!
As the young man with a gun in his hand enters the stage, the director of the play "Waiting for Godot" leaps into the audience with a long leap and sits on a chair where Saeed Soltanpour is sitting a few seats away.
At that moment, the young man with a gun in his hand, who has now reached the front of the stage, points his gun at the audience and shouts: (The time has passed when you had the last word! The revolution has happened and now it is our turn to speak. Don't let me, you are on the side with this gun! )
The audience cheers and claps and the curtain closes.
Second scene:
With the song "Blessed are the springs", the closed curtain opens.
The stage, with the walls of "Of course" Invisible!" is divided into three unequal parts:
In the middle part, which has allocated the most space, some people are rehearsing the Ta'ziyeh of "Mukhtar Thaqafi", who is preparing to avenge the blood of Imam Hussein (AS) from his murderers.
On the left side of the stage, Saeed Soltanpour is rehearsing the street play "Abbas Agha Kargar Iran National".
On the right side of the stage, which has allocated the least space, the director of the play "Waiting for Godou" before the revolution is now rehearsing a play called "Godou Came" when... suddenly, one of his actors stops playing and turns to the director and shouts: (Why are you grinning?! Why are you making fun of me?! Do you even know what it is?! I don't want to act the way you want me to! What does being a director mean anyway?! You're a pro, you're for yourself! Those times are over, my dear! Now, the revolution has happened and Besides, you generals, your hats don't have wool. Do you understand?!).
The director grins and says: (If we fall off the horse, we haven't fallen off the original, my dear! Go! Go! Apparently, you're also one of those zero kilometers after the revolution that haven't been picked yet, you want to become a raisin. No, my dear! Go now and when you're well-sealed, come and talk to each other. Go!).
Actor: (Now I'll show you who you're on!) .
The actor goes to the middle of the stage and turns to the director of "Mukhtar Thaqafi's Ta'ziyeh" and says: (Haji Agha! This tyrant has gone too far! Hey, he's giving orders and telling me this and that! As Makhmalbaf's brother said...).
Haji Agha places his right index finger on the tip of his nose and says, "Hiss! Hiss!" And at the same time, He takes a step towards the actor and director of the play "Godot Comes" and says in a low voice: (Please, brother! Please speak a little more slowly, because my actors are relaxing and consoling!). The director of the play "Godot Comes" laughs when Haji Agha pronounces the English words "relaxing and consoling" with a thick Arabic accent. The actor seizes the opportunity and immediately approaches Haji Agha and says in his ear, so that the director of Godot Comes does not hear: (Do you see, Haji Agha?! The guy is laughing at us! He is making fun of us! Do you even know what the point of this play this guy is making is?! The point is that this guy is cheating, Haji Agha! He is making fun of the Imam! He is making fun of Islam! Godot Comes, What does it mean?! That means God has come, Hajj Agha! He is blaspheming. Hajj Agha is a disbeliever!).
Saeed Sultanpour, who is standing in the other corner, close to Hajj Agha, and has his ears pricked up to hear the actor's words, draws himself towards them and with a smile on his lips, addresses the actor and says: (Is there really a God who comes or doesn't come?!).
A storm breaks out.
Lightning flashes.
Thunder roars.
Eclipse.
Eclipse.
Dust.
Darkness.
The sound of machine gun fire.
Heavy silence.
The stage slowly lights up.
Saeed Sultanpour, covered in blood, is tied to a pole with a rope.
The light goes out of the stage.
The curtain closes.
Professor Rokn al-Din Khosravi at a glance
ازاساتید برجسته رشته بازیگری و کارگردانی دراماتیک
Mary Daresh and I were both inmates in Isfahan Prison.
Mary Daresh and I were both inmates in Isfahan Prison.
Mary Daresh was born in Tehran in 1953. Her father was a soldier and retired with the rank of colonel. Mary entered the Faculty of Dramatic Arts in 1966 and studied acting. In the same year, she played the role of Simon Machar in the play "Faces of Simon Machar" directed by Saeed Soltanpour and Mohsen Yelfani. The young and beautiful Mary coped with her role with extraordinary strength that, according to Mr. Mohsen Yelfani, was like a miracle. She created such excitement and excitement in the audience that SAVAK prevented the performance from continuing. She was arrested in Isfahan in 1982 for political activity. In 1987, she was transferred to Tehran Prison. Two years later, she was released from Evin
Prison.After her release, she turned to artistic activity, the true background of her beautiful soul, and became a stage secretary for the film "For Everything", directed by Rajab Mohammadin. In 1996, she was on a trip to film with a number of artists when their car was involved in an accident and Mary lost her life. Mary always said: "I hope to take my tired body to the other side of the water one day to spend some time in peace." That day was "never"... After that, she embraced the earth in her arms to be safe from the harm of evil people.Her memory is truly eternal in our memory.
Names of professors and teaching staff of the Faculty of Dramatic Arts in 1976-1977
Faculty members of the School of Dramatic Arts in 1956
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منبع : سایت زنده یاد استاد پرویز شفا
2 students of the Faculty of Dramatic Arts after forty years
رضا افتخاری ، احمد حسامی وحسین برقچی
My brother Parviz Shafa
- The article is about Professor Parviz Shafa. He was one of the great cinema professors who taught for many years at the Faculty of Dramatic Arts and wrote many works in the field. Unfortunately, Parviz Shafa passed away unexpectedly a while ago. Although he is always alive with his artistic services and the good works he left behind, his absence is felt. The article was written by the professor's brother, Saeed Shafa, which you can read below.
Ali Akbar Goodarzi, poet, writer, and voice actor, passes away
Ali Akbar Goodarzi, poet, writer, and voice actor, passes away
Sirous Moshfeghi, a student of the Cinema and Television Department at the Faculty of Dramatic Arts, has passed away.
Sirus Moshfeghi, known as the Village Poet (born on April 1, 1943 in Pol-e-Sefid - died on June 1, 2020 in Tehran), was a poet and cultural and literary activist. Sirus Moshfeghi was a student of the Cinema and Television Department of the Faculty of Dramatic Arts. Sirus Moshfeghi died on the morning of Saturday, June 1, 2020, at the age of seventy-seven due to respiratory problems in Firouzgar Hospital in Tehran. Moshfeghi is a founding member of the Iranian Writers' Association; he graduated from the Cinema and Television Department and currently has no private activity other than composing poetry. Moshfeghi entered the field of composing modern and white poetry in the early 1960s and was soon able to join the ranks of the country's leading and most prominent poets. As Ahmadreza Ahmadi, the famous poet of the New Wave, said about his widespread fame in an interview with the quarterly magazine Gohoran: "... At that time, political poetry and Sirus Moshfeghi were fashionable. They were hitting me in the head. No one would take me in..." Moshfeghi in On the third night of Goethe's Poetry Nights, which was the most important cultural event in Tehran from 18 to 19 October 1977, and this event was organized by the Iranian Writers' Association in cooperation with the Iran-Germany Cultural Relations Association and the Goethe Institute for ten nights, with poetry readings and lectures in the garden of the Iran-Germany Cultural Relations Association, he recited poetry. Recently, an audio file of his poetry reading has been published on some internet sites.
In 1979, the Islamic Association, upon dissolving the Dramatic Faculty, donated the faculty's premises in Absardar to the IRGC.
The photo was from the academic trip of the students of the Faculty of Dramatic Arts in the last months of his life, because in this year they went on an academic trip.
The last student intake was in 1979, and these new students went on an academic trip with other students. This trip was one of the excuses of the Islamic Association of the Faculty, which accused them of being un-Islamic during the trip and said that un-Islamic things had been done. The students said that before the revolution, they could always be found in the sweatshop opposite the faculty. After the government became Islamic, the radical Islamists turned to the faculty out of fear of past actions. In 1979, with the anti-cultural revolution, they dissolved the Faculty of Dramatic Arts. A few years later, a new faculty called the University of Arts was established under the guise of the former Islamic Dramatic Association, and they presented the location of the Faculty of Dramatic Arts to the Revolutionary Guard Corps. In return, they received free doctorates and master's degrees, and they became professors of the Faculty of Arts.
Interview with Gita Gerkani about the School of Dramatic Arts
من دردانشکده ی هنرهای دراماتیک در رشته ی ادبیات دراماتیک و نمایشنامه نویسی تحصیل کردم. سال اول دانشکده همراه با شاهرخ غیاثی یکی از داستان هایم را به صورت فیلمنامه در آوردیم و شاهرخ برای فیلم تزش از آن استفاده کرد. در سال های بعد بیشتر به حوزه های دیگر پرداختم اما همیشه عاشق تئاتر و سینما باقی ماندم. این عشق در ده سال کار داوطلبانه برای فرهنگنامه ی شورای کتاب کودک به عنوان مسئول بخش تئاتر و سینما خود را نشان داد. در آن دوره چهارده مقاله برای فرهنگنامه نوشتم . کار برای فرهنگنامه باعث شد متوجه شوم در حوزه ی تئاتر و سینما کتاب های مرجع ساده و قابل استفاده برای عموم نداریم. به همین علت بعد از سه سال تحقیق کتاب "تاریخ سینما" برای نوجوانان را نوشتم که در سال 76 چاپ شد. در سال های بعد از دانشکده گاه و بیگاه به دوستانم در نوشتن فیلمنامه کمک می کردم. اما عملا بیشتر به ترجمه و نوشتن پرداختم. نتیجه ی این سال ها 45 کتاب، سرپرستی و ویراستاری یک مجموعه ی 12 جلدی قصه های کودکان و مقالات متعدد در حوزه ی تئاتر و سینما و تکنیک های نویسندگی و مباحث پراکنده بوده. ترجمه هایی از آرونداتی روی، موراکامی، لاهیری، هورویتس، کافکا و خیلی نویسنده های دیگر انجام داده ام. در حوزه ی نوشتن مجموعه داستان "هیچکس توی آینه نیست"، رمان " فصل آخر"، داستان های کودکان که دو تا از آن ها " آشپزی ملکه" و " حلزون ها و پروانه ها" به طور مستقل چاپ شدند و " تاریخ سینما" را تا به حال به چاپ رسانده ام. در حال حاضر علاوه بر ترجمه یک مجموعه داستان زیر چاپ دارم ، و سرگرم کار روی دو کتاب ناتمام هستم. یکی رمان دومم و آن یکی کتابی در مورد تکنیک های نوشتن..........
A few notes about the script 1
Dear friends, sometimes I read material that may be of use to those interested, and I will share their translation with you as much as I can.
Four points for creating a "character" in a story
To create a fictional character, the writer must know the character's inner desires and wishes as well as his external goals in order to be able to guide the character to achieve his goals.
In many screenplays, the character becomes more complete on the path of his movement towards the final goal, and unfortunately, sometimes he loses some of his characteristics during this journey.
The four points mentioned in this article are things that the writer may want to distance the character he has created from so that the character can reach his narrative path and behavior.
1- Parents and home;
In the history of storytelling, characters are usually separated from home and family for reasons that are discussed in the story in order to respond to the call that calls them. The character becomes lonely due to a decision he makes himself or is imposed on him, and for this reason, he is taken into the attention of the writer, and the story is based on his actions.
The character of "Indiana Jones" is one of the best examples for this purpose. "Luke Skywalker" in Star Wars is another example of a character who goes from his original place to another place to start a fight.
Countless examples can be found in stories that are evidence of this claim. Perhaps the most universal character who has been considered since his separation from his family and the beginning of his journey is "Buddha", who became a global figure as soon as he left his father's palace in search of truth.
The rule from these examples: The development of a strong character usually begins with the character being banished from his comfortable and peaceful place to a dangerous and complex environment.
2- The character's crutch or support;
The character's support can be incorporated into the story in various forms. Friends, magic, masks and masks, etc.
Ultimately, the character's support can be anything, anything that helps him in confronting and struggling with the obstacles ahead. When the character reaches the goal (if he reaches it), he distances himself from his support and no longer needs it.
3- The character's past;
The character distances himself from his past, from his memories, from the people he feared or loved, or any other feelings he had towards them. From his hometown, his city, his country... In short, the character is constantly shedding his skin and getting closer to a newer, more authentic person (for better or worse, compared to the image others have of him).
4- What does the character want?
What the character wants and what he needs to achieve his desire should be revealed by the author in introducing the character. A better introduction to the character and the disclosure of many of his weaknesses and strengths are revealed through his relationships with the surrounding characters. Therefore, by fully understanding the character, the author can guide the audience to a more realistic understanding of the character in designing the character's relationship with the complementary people around him.
Sometimes a character must give up what is important to him. Indiana Jones passes up the "Holy Grail" he has been searching for throughout the story to reach a position that is more important to him, namely the love and respect of his father.
The character is always willing to give up what he has in order to achieve a higher and more valuable goal.
Translated and summarized from the article written by: John Butcher
John Bucher- LA Screenwriter
A picture of students in the Cinema and Television Dramatic Arts department in the college courtyard in a memorable photo.
Picture of Dramatic Arts Students Dramatic Students
From right to left: Ramin Azar, behind whom you can't see, I think Behrouz Yaghmaei, Kourosh Afshar Panah, Mahmoud Johari, Ali Tajer Mashaei, Jila Mohajer, Qasem Shakibafer, Ahmad Ghaffar Manesh, Bijan Birang, sitting Musa Basatini and Hashem Arkan in the faculty yard, a commemorative photo, thanks to Farid Bozorgmehr
Acting and directing students and professors of the Faculty of Dramatic Arts
In this picture, a number of students and professors of the Faculty of Dramatic Arts are present. Professors Ismail Shengleh and Dariush Mudabbian are in the picture. If you recognize the others, dear friends of students and professors, please inform them by email to the faculty or in the messages section of the faculty's Facebook page so that their names can be added.
A memorable image of students from the School of Dramatic Arts
Right, you guessed it, this is a living picture of Kasra Rezaei, on the right side of the
picture, Hamid Mozaffari in the middle, and Javad Salimi on the left, who after the revolution held positions in the Cinema Affairs Department and later the Deputy Cinema Affairs Department, in supervision and technical matters. Hamid Mozaffari says: Kasra, as you know, had mental and emotional problems, and ended his life outside of Iran. The year is: spring 1976. I have no idea who the photographer was. But the camera belonged to Kasra, who stubbornly wanted to have a photo with me; he printed the photo in his darkroom at home. The story of Kasra's youth was also sad.
Successful performance of "Waiting for Godot" at the Faculty of Dramatic Arts
Fall 1976 [November] A photo of the performance of "Waiting for Godot" "translated and directed" by Dr. Abdolhossein Fahim, a radio employee, who studied theater in America and came to Iran with his very kind American wife and also taught at the Faculty of Dramatic Arts. He prepared the play "Waiting for Godot" with a group of acting and directing students of the faculty, and it is the fruit of work throughout the year 1975 and part of the summer and October 1976. Davud Daneshvar, who played Estragon, was introduced as the best actor of the year by one of the prestigious magazines of the time. Behrouz Baghaei "Vladimir", Hamid Mozaffari who is in this photo "Pozo" Ahmad Sepasdarlaki. The late photographer Kasra Rezaei.
I like to tell stories! (2)
I have been a prolific screenwriter for twenty years, and have achieved
considerable success in this regard. Many of my screenplays have been sold and some have reached the production stage.
During my career, I have met some interesting people, although not all of these acquaintances have been satisfying or lasting. As for writing novels, I must say that my desire to write screenplays stems from my interest in cinema, storytelling, and entertaining others. However, the big problem that has occupied my mind about writing screenplays is that the vast majority of viewers cannot see what the screenwriter has in mind. Sometimes, due to the different perspective of the filmmaker, these changes are imposed on the original script, and this is only a condition for the script to be made, while a screenwriter, as I said before, writes many scripts that never reach the production stage, so they are only read by a few producers or directors or actors and nothing more!
A few years ago, I felt deeply tired of this futile and fruitless game, while writing, and especially writing screenplays, is my true love in life, but the screenplays that remained in my hands and were not appreciated had also made me nag, nag, nag, which is a familiar complaint for all screenwriters!
Lack of production: lack of audience
After many years of writing screenplays, this frustrating feeling was bothering me.
One day, in the middle of writing a series for a video network that I had high hopes for, I received a short message from my program manager to the following effect:
: Don't write a screenplay, Jim, write a novel!
Well, I thought to myself, I have never written a novel before and have never even thought about it, so how should I start? I answered my next questions this way, just as I was trying to find a popular subject for my screenplays, I should look for a popular subject for a novel!
I raised my eyebrows and began to research to see what the novel audience wanted from a novelist, and I put pen to paper to write a novel!
If you are familiar with the art of screenwriting, you know that to write a screenplay, you have to pay attention to the details that must be paid attention to when making a film and can be seen exactly in the picture, but when writing a novel, it is not necessary to observe so many details. And I suddenly felt that I had been released and this freedom brought me a lot of joy and I saw myself as someone who had a license to explore forbidden areas, I saw myself free and liberated. I could write the mental menus of the characters (something that should be shown in the screenplay). Writing became fun and joyful for me and I felt like a child who had been allowed to play and have fun in a big playground.
I fell in love with this new way of "writing", I fell in love with writing novels. I fell in love with a way that gave me the opportunity to be a very fast and agile writer.
The first draft of my novel (80,000 words) was quickly prepared, although due to my commitment to writing the screenplay, there was a gap between the first and the final draft, but I was able to prepare the final draft with some deletions and additions. Now the time had come to publish the novel, and I thought that the time had come for me to reach a difficult and exhausting stage, and that the soul, frustrated by the steps of converting the screenplay into a film, which was a part of me, had taken this strength from me. I decided to publish my novel myself, and with the guidance of my friends, I realized that in today's world, it is not necessary to go through these steps, and that any writer can publish his writings in the form of a novel and in the virtual space and make them available to the public, just by pressing a few buttons on the computer and without waiting for positive responses from the film production company, producer, investor, actor or director. I am now the captain of the ship carrying my thoughts, and this is the most enjoyable difference between screenwriting and novel writing.
In my view, a completed novel is not like a produced screenplay, but the images that the author has created in the novel always remain in the pages of his book.
A novelist is not only the director and producer of his work, but also the art director, photographer, set and costume designer, makeup designer, responsible for choosing actors and editor of his work.
The images that the novelist creates, its scenes and characters come to life not on the big screen of the cinema or on the television screen, but in the mind of the reader, and according to the number of readers of the novel, these images benefit from diversity, vibrancy and life.
The novel that I have written has been available to readers for six weeks, and in answer to my many questions such as, do people read it? Do they enjoy reading it? I must say that based on the comments I have received, the answer to my questions is yes, and I still need more time for the novel to be published on a wider scale and for me to get to know other readers and use their positive and even negative comments in writing the next book.
My happiness also has a material aspect, and I think that if I can sell 500 copies of this book, it will be much better than the material result, which is about twenty of my screenplays that are kept in a cardboard box and occupy a corner of my office!
If the readers encourage me, I will definitely tell them other stories, and to be honest, that is the whole point
"I like to tell stories!"
About screenwriting (1)
Dear friends, sometimes I read material that may be of use to those interested, and I will share their translation with you as much as I can.
Four points for creating a "character" in a story
To create a fictional character, the writer must know the character's inner desires and wishes as well as his external goals in order to be able to guide the character to achieve his goals.
In many screenplays, the character becomes more complete on the path of his movement towards the final goal, and unfortunately, sometimes he loses some of his characteristics during this journey.
The four points mentioned in this article are things that the writer may want to distance the character he has created from so that the character can reach his narrative path and behavior.
1- Parents and home;
In the history of storytelling, characters are usually separated from home and family for reasons that are discussed in the story in order to respond to the call that calls them. The character becomes lonely due to a decision he makes himself or is imposed on him, and for this reason, he is taken into the attention of the writer, and the story is based on his actions.
The character of "Indiana Jones" is one of the best examples for this purpose. "Luke Skywalker" in Star Wars is another example of a character who goes from his original place to another place to start a fight.
Countless examples can be found in stories that are evidence of this claim. Perhaps the most universal character who has been considered since his separation from his family and the beginning of his journey is "Buddha", who became a global figure as soon as he left his father's palace in search of truth.
The rule from these examples: The development of a strong character usually begins with the character being banished from his comfortable and peaceful place to a dangerous and complex environment.
2- The character's crutch or support;
The character's support can be incorporated into the story in various forms. Friends, magic, masks and masks, etc.
Ultimately, the character's support can be anything, anything that helps him in confronting and struggling with the obstacles ahead. When the character reaches the goal (if he reaches it), he distances himself from his support and no longer needs it.
3- The character's past;
The character distances himself from his past, from his memories, from the people he feared or loved, or any other feelings he had towards them. From his hometown, his city, his country... In short, the character is constantly shedding his skin and getting closer to a newer, more authentic person (for better or worse, compared to the image others have of him).
4- What does the character want?
What the character wants and what he needs to achieve his desire should be revealed by the author in introducing the character. A better introduction to the character and the disclosure of many of his weaknesses and strengths are revealed through his relationships with the surrounding characters. Therefore, by fully understanding the character, the author can guide the audience to a more realistic understanding of the character in designing the character's relationship with the complementary people around him.
Sometimes a character must give up what is important to him. Indiana Jones passes up the "Holy Grail" he has been searching for throughout the story to reach a position that is more important to him, namely the love and respect of his father.
The character is always willing to give up what he has in order to achieve a higher and more valuable goal.
Translated and summarized from the article written by: John Butcher
John Bucher- LA Screenwriter
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