Successful performance of "Waiting for Godot" at the Faculty of Dramatic Arts
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
Mustafa Abdollahi, student of acting and directing in dramatic arts
What has not died and will not die
is humanity, ethics, and human art.
It is with great regret that we inform the professors and students of
the Faculty of Dramatic Arts.
Mostafa Abdollahi, a student of acting and directing
of Dramatic Arts, passed away today, May 31, in Tehran
- May his memory be cherished
An article about Azita Salehi, a student of acting and directing at the Faculty of Dramatic Arts.
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مطلبAbout Azita Salehi, a student of acting and directing at the Faculty of Dramatic Arts, who died of cancer in Tehran in 1999. This article was written by Azita Motavali, one of Azita Salehi's classmates who entered in 1977, and is included on the page From the Wailing Stone.
Why was Mary Daresh, an acting and directing student at the Dramatic School, killed?
Why was Mary Daresh, an acting and directing student at the Dramatic School, killed?
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In a corner of the newspaper, they wrote: In a traffic accident on the KavarShiraz road, 6 artists and people involved in the Ayyaran series were killed and injured... In this accident, Mary Daresh, the program director, and Yousef Azahar Sharifzadeh (the group's driver) lost their lives. Ms Shahla Soltani writes about the accident and death of Mary Daresh in "The Prison Book" volume 2, page 193: In a stupid accident. Mary had no injuries, as if she were sleeping peacefully. The child sitting next to Mary was unharmed and survived. How Mary loved children! ..... Mary is alive for me. The image of her in Evin is etched in my mind. I see her walking in the prison corridor; in the late hours of the night and in the afternoons of the prison, when the noise and excitement of the prison had subsided a little. I see him in his usual attire, jeans and a plaid shirt, ... I see him with his reserved and kind smile and I hear the resonant voice of 20-year-old Mary as Simon Machar in the court that sentenced him to death, as she pounded the ground, repeating to herself: "Here his voice is not raised. What happened? His voice is not raised! The French land is not raised anymore.
Shahriar talks about the School of Dramatic Arts
The Faculty of Dramatic Arts has a very brilliant history in the development and cultivation of performing arts talents in Iran, which is not hidden from the eyes of art lovers, and it is not possible to describe it in this short article. Unfortunately, it was destroyed by the so-called Islamic Association after the revolution, and after that date, when some people in Ferdows Garden tried to establish something similar, it failed. Thirty years have passed since that date, and we have all seen the result. The output of influential artists in the field of performing arts in these 30 years is not even equal to the lowest output of graduates of a year of drama, which had been active for only 16 or 17 years until 1979! In recent years, the administrators of the University of Arts have tried hard to merge the name of the Faculty of Dramatic Arts with the University of Arts, with the motive of compensating for the loss of the past 30 years. It is a pity that the historical memory that is in the hearts of the people can never be distorted. The establishment and training of the students of the Faculty of Dramatic Arts was carried out by the great Iranian artists, and until the last semester the best were active in its teaching, while the establishment of the Faculty of Cinema and Theater of the University of Arts was managed by students, some of whom had not even completed their bachelor's degree. Of course, in the following years, most of my friends continued their studies until their doctorate in the same Faculty of Cinema and Theater, and thank God, today most of them have doctorate degrees, but I know many of them who, for example, have not produced any artistic activity related to the degree and profession they are teaching, except for the work they did to pass their courses.
A world called "Faculty of Dramatic Arts"
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I see so much kindness. From friends, old and young. Sometimes I say to myself, "Maybe I'm a child again, who gets heartbroken when he sees a sad scene; and his friends let him know with these messages that they remember him and try to forget his sorrows and longings?" But sometimes these kindnesses are so unexpected that they help me find my lost ones. Like the message that came today for my birthday from the "Faculty of Dramatic Arts" page. A message that revived the feeling of a lost joy in my heart thirty-three years ago, from a faculty that I thought had been forgotten. A faculty that had big windows, had great professors, had great classmates, had great people with big hearts and great thoughts.
Thank you, dear friends, for bringing all this and all that greatness to the memory of a small heart in small cages!
Ismail Hemmati
Let's complete the names of the students of the Faculty of Dramatic Arts from 1964 to 1979.
دانشجویان و استادان گرامی دانشکده هنرهای دراماتیک ، درصدد هستیم
لیستی واقعی از دانشجویان دانشکده هنرهای دراماتیک از سال تاسیس دانشکده 1343تا پایان سال 1358 آخرین سال فعالیت دانشکده را تهیه نمایم .یک لیست واقعی ازدانشجویان راستین ،انجام این امرهم افراد در تاریخ دانشکده ثبت میگردد وهم اینکه هرکسی به دروغ خود را به دانشکده هنرهای دراماتیک نچسپاند. دراین راستا همکاری و کمک همه دانشجویان و استادان محترم را می طلبد که اسامی تکمیل شود لطفا دانشجویان عزیز اسامی همدروه ای های خود را برای ما ارسال نمایند . برخی دانشجویان محبت کرده و برخی اسامی را ارسال کرده اند. که بعد از تحقیق در لیست اضافه شده و خواهش می کنم همه انجام این کار مهم ما را یاری نمایید.
در صورتی برخی اسامی دانشجویان از نظر سال ورود به دانشکده
صحیح نیست لطفا اطلاع دهید تا اصلاح گردد.
دانشجویان ورودی:
1343: علی حاتمی ، سعید نیک پور
1344 : محمد علی کشاورز ،خسرو حکیم رابط ،بیژن مفید ،غزال ایراندوست ،خلیل موحد دیلمقانی ،
1345: تورج جنتی عطایی ،
1346: غلامحسین ذاکری،فرهاد ناظر زاده کرمانی ،اکبر عالمی ،
1347 : بهزاد فراهانی ، بهمن مفید ، اردوان مفید ،بهرام وطن پرست،مرتضی عقیلی،مهدی فخیم زاده
1348: علیرضا مددی ، مجید فلاح زاده ، فرهاد مجد ابادی ، خسرو شایسته، حسن بنی هاشمی ، آتش تقی پور، اصغر محبوب،حمید نعمت اللهی.
1349 : داریوش مودبیان . مهری مدیر تمدن. کوروش افشار پناه ،محمد رضا ال محمد ،فرید بزرگمهر،آذر بصیر ، الکس بلورچی، ناصر آقایی،اعراز ،فریدون فرهودی ،روشن منش ،علی جوهری ،عزت گوشه گیر ،مهتاب ملک زاده،مرتضی شاملی، کیوان علیزاده کیانی . مسعود مدنی . مسعود اوحدی . زنده یاد حمید هدانیا . پرویز نصر . زنده یاد نورالدین استوار . زنده یاد حمید نبوی محمود رهبرعربانی . مجید فلاح زاده . فاطمه مکداول . مجتبی متولی . کریم شربیانی . زهرا احمدی . حسین ( خسرو) میثمی . فرشته توکلی . خسرو شایسته . میترا قمصری . فریدون فرهودی . فریده سپاه منصور ، مینا عطری . مجید میرفخرائی . زنده یاد حسن (فرهاد)فارسی . خانم شیبانی . محمد رضا ابوالحسنی . محسن احسانی . مریم مستشارنیا . پروانه وحدتی ، ابراهیم قاضی زاده
1350: کامبیز صمیمی مفخم ،شهاب عادل ، یدالله وفا داری ،حمید دهقانی ،محمود جعفریان ،نسرین شیوایی ،پری رحیمی ،پروین محبی ،پروانه عابدینی ،مینو عشقی ، ناصر زراعتی، هادی مرزبان، ضابطی جهرمی ،سعید عالم زاده ، علی شکیبا فر،
1351: ، اصغر محبوب ،حمید دهقان نسب، فرهاد مجد ابادی ، رها گزرسری ، گیتی جوادی، عزت بانو ابراهیمی ، رضا قریشی ، نادر ناهید پور، فرهاد شیبانی،بزرگ خضرایی، مری دارش
1352 : سهراب سلیمی ، محمد رضا کلاه دوزان ،مهوش آژیر ،فریماه فرجامی ، لاله پور قدیری ،صبری حسن پور، مهوش افشار پناه ، عطا ثروتی ،ژیلا سهرابی ، محمد کاسبی، فرانک کیارس ،ژوبین قایم مقامی،سیروس مشفقی ، الهیار مقدم ، حمید مظفری
1353: علی شریفیان ،شراره مهرین فر،مهوش آژیر، قاسم سیف ، مهدی منتظر ،علی شریفی ،بهروز بقایی ،جلیل فرجاد (حاج ،آقایی )،داوود دانشور،بهرخ بابایی ، پولاد خوش کنابی، شاهرخ غیاثی،مصطفی طاری ،اکرم امیر افشاری ،نسرین نعمت اللهی ،مینوش بنی اعتماد، نسرین دوشیری ،رویا ورزی ، فرزانه نشاط خواه، نسرین گلباسی، جمیله نعمت اللهی، رخشان بنی اعتماد
1354 : کاظم شهریاری ، سعید نصیری، کاوه قدکچیان،کیهان مرتضوی ، میترا قوامیان ،مسعود دلخواه ،هومن آذر کلاه ،پروانه سلطانی ،مسعو فروتن ،مجید گلبابایی،اکبر افرا ، فرنوش مشیری ، مسعود واقفی،آرمان امید ،محمد هراتی ،حسن مهمانی ،جواد خدا دادی ،رضا آیار ،بهنازصاحبی ، کشانی،فواد نجف زاده، جمشید جهانزاده ، محمود افشار ، رضا صفدری، میر ولی مدنی، علی ساغرچی ، اسدالله نیک نژاد ، داریوش هادوی ، تاجبخش فدائیان ، حسین عاطفی ، کاظم بلوچی ،عبدالله دلدار، سعید کشن فلاح
1355: مصطفی مختااباد ،فرهاد توحیدی ،عطا کوپال ،ناهید طباطبایی ، حسین دوانی ، مینوفرشچی،داوود حاتمی ، رضا حیدر نژاد ، غفار رضایی ، کسری رضایی ، مجتبی یاسینی، احمد بیگدلی ، محمود هندیانی ،فریده دریا مج ،منیژه دباغ،بهرام قاسملو،اکبر سیستانی، شعله شاهپور، یاسی ناصری ، امیر امیر سلیمانی ،پروین رضاییان ،شهاب الدین عادل، پروانه سلطانی،مهشید متولی ، محمد علی طالبی،مسعود محرابی ، هوشنگ گلمکانی ، علی عالمی ، شهریار شهیدی، محمد صالح علا ،محمود ابراهیم زاده ،مهدی شجاعی ، عبدالرضا فریدزاده ،بهرام ورهرام،بیژن بیرنگ،جهانگیرکوثری ، گیتا گرکانی، فرشته گرجی ،رضا نبوی، فرهاد شهریارملکی، حسن ملکی،مهوش تهرانی،پروانه صفایی،محمد کاسبی ، فریماه قاجار،علی کشوری ، فرزانه مهدی زاده،زری خالصی،سهیلاجعفرزاده،شعله نواب تهرانی،کریم ظروفی آذر، هما حسینی یزدی، فریدون خالدار،شهرام صدیقی
1356: علی پویان ، سیامک تقی پور، شاپور اسکندری ،علی داریا ،آزیتا حاجیان ،آزیتا متولی ، آزیتا صالحی، نیلوفر محلاتی ، نسرین رضایی ، حسن معماری ،محمود میرزایی ، احمد بردبار، نسرین غزنوی راد، شعله نواب تهرانی ، سعید اکبریان ، کیانوش امیری ،فریده لاشایی ،مجید بهشتی ،قاسم رمضانیان،سیاووش هاشمیان،فرهاد مهرانفر ،مهوش غلامی ، فریبا شاهین مقدم ، روح انگیز ،مریم سعادت، مجید وزیری ،مجتبی متولی ،نگین شهمیری ،سعید اذرمگین، افسر اسدی.
1357 : حسین جعفری ، رحمت الله محرابی ،اسماعیل سلطانیان ، زهره مجابی ،مریم خاکی پور ، حسن دولت آبادی ، زنده یاد منیژه طبری ، رضا صفدری ، حسن کاخی ، هنگامه مفید ،عبدالحی شماسی ، ناهید معینی ،مرتضی نوبرزاده ، رویا تیموریان ،اردلان خردمند، لیدا معینی ،علی تمدن،محمد حسین سپهری ، محمدرضا صفدری ، مسعود اژدادیان ،علاالدین امین، ناهید معینی ،خسرو معصومی ،سودابه گوهری ،کامبوزیا پرتوی ،ماریا حاجیا ، پردیس ، فرشته ،محسن ابراهیمی، امیر بهمدی ، نرکس اکبریه، عباس جهانگیریان ، پروین عابدین نژاد ،مظفر مقیمی ، فرزین ، کامبیز معماری، مرضیه محبوب ، هما جدیکار ، معتمد وزیری ،علی کشوری ،فرامرز باصری ،بهرام علیدوستی، منصور شهپر ،لاله خاکپور ، لادن خاکپور ،فریده خردمند ،فروغ صیرفی ،آرش اذر نیا ،فریده محبی ،آزیتا نیکنام.
1358: عباس معروفی ، رضا جابر انصاری ،شاپور پور امین ، مهشید متولی، حسن زارعی ، احمد گودرزی ، مهدی وثوقی راد ،مسعود رایگان، مصطفی عبداللهی ،محمد پورحسن ، سید علی صالحی ،شیوا دوستانی ،اسماعیل همتی ،صمد طاهری ، مهرانه مهین ترابی ، مهدی فلاح، مریم آخوندی، گیتی افشار،رضا عودی ،رامونا ورده سن ون سان ،فاطمه علوی ،مژگان علایی ،نورالدین گیلانی ،رضا گوهری، امیر راضی ،بهرام ابراهیمی ،شهین علی زاده ، گوهرخیراندیش ،کمال رفعت صفایی ،همایون امامی،جواد پیشه گر، مجید قناد، احمد گلریز ، سعید محصص ، علی موذنی،همایون اسعدیان،عباس احمدی مطلق ،رحیم دوستی ،هنگامه ، رضاعباسی ، کارن فولادی ،روبرت.، فرزانه مهدی زاده ، فریبانیکومرام، غلام حیدری ، نسرین ارمگان ، هایده ، عباس شیخ بابایی، فرشته فرمند، احمد حسامى، افسانه زندى ًجمشيد انصاری، فرامرزبادرامپور، محمد قاسمی،رضا افتخاری،سعيد بابایی،حسين برقچى
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