Reza Babak
Audio of the Entire Interview
Interview Transcript
Part 01
In the name of the creator of beauties, I am Reza Babak, but well, my full name is Reza Babakmehr
I also had an older name that we changed for some reason because since school I gave my nickname Reza Babak
What is written in my birth certificate, I am also losing my age like women, I was born on March11,1980
But my mother used to say that we took a little too much tradition to go to school early and get married early and go to the army soon.
I was born in the Abbasi neighborhood of Tehran, until I was about4-5 years old, and maybe less so. I lived in that neighborhood.
A three-story, three-story house that I am talking about had2 rooms on top of each other and a basement where3 families lived.
My grandmother and uncle were there too, and it was a crowded house
I was the youngest child and I was a good boy and I was very much taken care of by my aunts and sisters
Well, my grandmother’s presence calmed me down as much as I could remember, and it calmed the whole house down.
I have2 sisters who are older than me and the name of one of them is Iran and the name of the others is Turan
And the one whose name is Turan was always upset that why did you name me Turan and not Iran, they should have left Iran2
Anyway, since I was a small child, I was getting a little attention from my uncle and uncle and these
I remember my uncle bought me a small wooden ladder and I really enjoyed it, a ladder that was about30-40 cm
My uncle who lived with us was on the left and he was expressing a lot of new ideas.
And he worked in a hotel in Darband, I remember that if we want to consider these appearances of modernism
For example, my uncle brought the radio to the house for the first time and he could hardly catch the wave of Tehran and we listened to the radio.
And I’m really wondering where these people ‘s voices come from
From August19th, I may remember something like a dream, but I remember something
We were the little children of the family and it was my sister’s wedding in a house in the gym and a wedding
And they were all gathered together; it was a great house, and it had great cellars, and was in the street
Suddenly we saw that it was crowded and noisy, we went behind the glass and saw a group of people walking and chanting slogans.
We were looking out of the window, the wall in front of us was old brickwork and the middle was whitewashed.
They probably wrote a slogan there, and they started hitting with a shovel and a pickaxe and a stick, and they ruined the slogan they had written.
And then I saw that they came and fought with us and I just saw that my uncle, who was very young, went to the stairs with one of our relatives.
And they hid in that trunk, and later when there was talk in the house and I heard
It was said that these were the drugs of Shaboon Jafari, who became known as Shaban Bimakh
It was the drug gang that was chanting slogans against Mossadegh, so I remember a bit.
The bottom of Abbasi Street was closed, there was a high wall at the end of our alley, I think it might have been a match factory
This wall was very high and as a child I thought this is the end of the world and the end of the world
I really thought so, that is, I thought, here we are, the last alley in the world, and we are living in it.
From my other memories, we also had a metal tricycle that my sisters used to scare and take me away, it made a lot of noise.
And an old lady with fawn hair had a house there, and I was afraid of her.
That is, when we arrived at his house, no sound should come and we would pick up the wheel well and run a few meters further and put the wheel on the ground again.
And if we were drowning and we forgot this, this lady would come out and fight and shout.
Later, when I thought about it, I saw how much it resembled a wizard of fiction movies
It was a very good atmosphere, I felt good, in addition to the fact that I had my own crises.
I had my fears, I had my worries at that age that I sometimes remind of the places I remember
I remember my father had a book called Wonders of Creatures, it was kind of an old dictionary
Who had written a number of words with their meanings and also worked with some pictures
I was with a sister who was a little older than me, one of our games was when my sister said she was gay and we saw her
Then, for example, we would see one whose eyes are a little bigger or one who has horns, for example, a giant or a demon, drawn to the author’s imagination, there.
My sister and I would spit all the negative characters on our fingers and rub them on their faces to make them fade.
I remember once my father argued with my sister over why you did this
My father sold that house and took a plot of land in Salsabil, which is now Rudaki
He took a plot of land there and started building it. Six months or a year later, I went to Bahram Primary School, which was right in front of our house on Hashemi Street.
And the memory I have of building that house is interesting, well the house had a porch and there were one or two doors that opened to the rooms.
In front of the porch, which was a courtyard, a water reservoir was built in this porch, where water flowed from the atmosphere and was filled to be used in the building.
An electrician was pulling it out of these hoses, and this was the first time I had seen it, and it was very strange to me.
That these pipes are so soft and in these spaces where this stump fits and then leaves a box
It was interesting to me and as I was looking at it, I came back and fell into the water tank.
Well, I do not know what was going on up there, it must have been my mother’s crying that she would tell me to go.
I started paddling there because I could not swim and they did not send us to swimming class at that time.
I was doing the same normal paddling, the same normal reaction, and I did it a lot.
And I was constantly sinking into that well that had a small vent anyway that I might not have been able to go through.
I struggled a lot and I remember that I got tired and then it occurred to me that I would die well
Then all of a sudden I saw that everything was blue and I was like a slow motion movie.
I was still in slow motion when I suddenly saw a hand come and grab me and pull me out.
He took my hand and soon took me and brought me out, Mash Hassan was a name I remember well and he worked there
It was built later and I saw it many times and I always said that your goodness made me in this world, you saved my life
And the next year they wrote my name on the school and my father took the first grade books and brought them
And I still remember the smell of those books, really the smell of the new book that Forough says in his poem was unforgettable for me
I will never forget that Reza is sick, it was one of the second or third grade lessons
Reza is sick, he has a cold, the doctor saw him and told him not to eat anything harmful
And it did not fit in my coat, which means that I should not have counted what he ate harmful things.
I was saying why these people wrote wrong and no one could give me the end answer and they said read this
And anyway, this was water, Baba and these, and we had a teacher who was a woman and she did not wear hijab and she wore a coat and a skirt.
And I looked at him more than at the bottom of the board because we were in more closed families anyway.
And the tent was a tradition that was a tradition of our family in previous generations
I will never forget the look of this lady and her kindness and the fact that I encouraged myself and children my age to come to school and learn something.
A school called Haeri Islamic Elementary School was opened on Khosh Street, and they had to pay tuition there, which was5 tomans, and my father registered me there.
I have many bitter and sweet memories from there, the children were beaten very badly
I remember our moderator weaving a whip one by one and I do not know what he put in his beak that was stiff
He beats you at all, that is, he says at once, “Go and beat you or hold your hand, you are afraid.”
It was in pain and we were pulling our hands and he was biting in our heads, like animated figures, our heads were suddenly coming up and blowing.
I only remember being encouraged once, maybe several times, but I remember it once
We were reciting the Quran in a mosque in Salsabil, Sadeghieh Mosque and I read it incorrectly and
He said give him a prize, bring him some sweet tea
He filled a cup of tea with sugar and brought it to me.
It was that I gradually learned to laugh, to smile
But I played my first and second theater in the same Islamic primary school
Well, I was a devil, devil means I was joking, I was making jokes
And the kids in the class laughed or the teacher liked it and laughed
One of our teachers, who was not a cleric, wanted to work in theater, a theater about poorly educated children.
And he finds himself in a lot of trouble until he wakes up to a lot of things
I also had the role of narrator, that is, I was a storyteller and I defined the story
The interesting part of this story is that in the last days of training, there was a small closet with2 small doors
He told me to go and tell this story, I always wanted to be seen and I was seen
And the teacher said that this is like a radio and I want to say that this is being broadcast on the radio and anyway it was the creativity of that teacher.
And he put me in that closet and opened the door a bit so that light could come so that I could breathe and tell those monologues and tell the story.
This was my first acting, which I think I played very well, but no one saw
My father used to take me to the mosque a lot and listen to a lot of sermons, and one of the people who used to take his sermons a lot was the famous speaker Mr. Filsafi.
His narrator was very appealing to me, at first he sometimes said a lot of modern things.
I remember that Mr. Filsafi, for example, criticized newspapers and magazines and mentioned them and said that instead of printing a photo of a certain person and character,
Photo by Sophia Loren and Brigitte Bardot and Gina Lollipop,
One of my games was that every time I came from the mosque and my father was not there, we had a small ladder, it was not a toy.
I leaned against the ladder against the wall, put my mother’s tent on my shoulder, and tied a tent over my head.
And I played the role of a mullah who went to the pulpit and my mother, my sisters and aunts were laughing at them.
I did a lot of theater in high school, I did a lot of theater in our school
We set up the ping pong tables and made them in a very large room, and one of my friends had a text that I directed and played.
And he told me to take a picture of myself, and I took my picture and pulled it out to make a poster.
That was the first theater that had a poster in high school, and I was in ninth or tenth grade playing it
And then in the same games, I met Sadegh Hatefi and Ismail Khalaj, and they were in another school.
They saw me because they were active in the field of theater and asked me to play with them in their group.
And I started working as an actor, Ismail Khalaj as a writer and sometimes as an actor and Sadegh Hatefi as an actor and sometimes as a writer and director.
Some of the things we did were, for example, he would go to the bay and watch the movie Kwai River Bridge10-20 times and sit down, change it and write his theater.
I remember, for example, the role played by William Holden, and this time, for example, the Japanese came and occupied our homeland.
I remember coming in front of the curtain, in the dark, there was no light and then I put a cigarette under my lips
I would play a match and it would go out, and then I would play several matches together and light this cigarette.
And we chanted and said if a match can not light a cigarette, there are thousands of other matches that light a cigarette and hello
And then there was music, and then we went into that story of the Kwai River Bridge, which was named after General Tasman or something.
The Dry Desert I think was in1943 or1944, written and directed by Sadegh Hatefi
The role of the master was played by Nasser Madaghalchi, our dear and famous double voice actor
I also played the role of an employee, I was actually a servant and I worked in the comedy department.
Our high school did not have a theater, and there was another high school on Forsat Street called Mehr Bakhtar, which was for girls
We left and for2 nights we performed there and they came from the education and the head of the scout and they saw our work and they encouraged us a lot.
Dry Sahara was also called titration, with the participation of, for example, Nasser Madaghalchi, Reza Babak and Afshin
His nickname was Sadegh Hatefi Afshin, so I left my last name to Babak and later became Babak Mehr
I got2 years to get my diploma,1 year for chemistry because it did not fit in my coat at all
And for a year I could not be a single student and for a year in the11th grade I renewed one or two lessons, but finally I got my diploma.
Then I went to the army, I was in Karaj, we were divided and I was in the IRGC
And I went to Sari and the Turkmen Sahara and spent the rest of my service in the cotton fields.
In order to spray the fields, I spent my military service there, and there I became a3rd honorary sergeant, and they gave me300 tomans a month.
During the military service, I recited a poem in the Karaj barracks, during the four months they taught us
But later when we were divided and I went to Gorgan and Gonbad, on holidays or I would come to Aliabad Gorgan or Gorgan itself
I bought2 magazines, one was clustered by the living editor of Ahmad Shamloo and the other was Ferdowsi magazine.
And anyway, these had good articles and lots of short stories
It was that I had a field of poetry in the early days of military service in the barracks and I was reciting poetry.
Well, we were influenced by the atmosphere at that time, it was a kind of critical atmosphere, and we wanted the situation to get better.
So my poems were very much influenced by the poets of that time, whose critical dimension was very much in their work.
There was no rain and the drought with the most cruel lashes scattered the tired birds of this garden of horror, I do not know it was such an end
Part 02
From another period I was no more bloodthirsty, adolescence and an older one, I was more of my aunt’s house
I was comfortable with them because their father took them to the cinema, my aunt’s husband took me to the cinema for the first time and they went to the cinema
And the first time he took me to the cinema with his children, we went to Lalehzar, in the national alley, the national cinema.
I really did not know what cinema was at first, then I saw future programs in the shop windows and the photos that were pasted, and I said to myself, now come and see the photo, what? This was the cinema, what?
I told my cousin Ali what to do? Let’s go, I saw, Ali said wait, it starts now
Suddenly I saw a door open and some smoke was coming out and some people came out and some stayed inside because it was a few chances to sit inside.
We went in and we were in the smoke, everyone was smoking and we saw a black and white movie that had subtitles and was not dubbed called Starless Man.
And there in the middle of the movie the lights were on and they were selling sandwiches, I ate the first sandwich of my life and I saw how delicious this sausage is
After military service, I went to the Filco Refrigeration Company and worked there for a year and a half
I was there with a timer, I did not take the times well, they said take the exact time when this worker picks up the piece and puts it under the press.
It now took a few seconds for the press to come down, but I misspelled all the times.
I was trying to say it takes time because I felt they were getting tired and I think my timers didn’t work.
And then one day I was passing in front of the university, Sadegh Hatefi was standing in front of the university
He said that a theater school has been established here and now its fourth term is starting and many are here.
He said that Mr. Entezami, Waliullah Shirandami, etc. are studying here
You come and participate, you will be accepted, Haifa, he said how much money should you put Bank Melli in front of the university
And give the bill and here your name is written and come and give the national entrance exam and then it is the turn of the special entrance exam
I said I have no money now, he lent it to me and I went and left the bank and wrote my name and came there and took the general exam
I do not know what I did, really, you had to be accepted by the public and then you chose the field
Then I saw that I was accepted and then they gave us3 texts, one of Sartre named Molaye Bi Kafnvodfn
There was a Shakespearean named Julius Caesar and there was another text that I prepared for the first two texts.
Mehdi Fathi came alive and practiced there with the children and I remember that he worked on those texts with us and it was my turn and I went on stage
Who were the jury members?
The jury consisted of Dr. Mamnoon, Hamid Samandarian, and possibly Oskooi
I went for a minute and waited to concentrate and came back, I started to perform and those in the middle of the work said, “Okay, hold on.”
I said let me run that one too, doctor, thank you, they said he did not want to and asked what to do
I said now that I’m going to work, he must say no, I lied there that I teach literature to children
He said very well, please, one day they said that the names were announced, I bought a Kayhan newspaper but I did not look on the way and I said I will go home and look later
I went home and took off my clothes, opened the newspaper and saw that my name was written, Reza Fashangchi, the name was written as a second name.
We went and became students, and little by little I saw that I had to work
Before I entered the university, Sadegh Hatefi had a theater that worked in high school. We did a little better and performed in fine arts, and there they saw me on stage.
The kids in the class who were just about to enter the university saw me and thought that I was good at this job and that I had already been on stage and that I was more professional than all of them.
It was that I was on stage a lot at university, the previous group that we brought the theater with Mr. Hatefi was on the stage of Pajhwok
The next group was from the senior year of the college and they were doing fast and revolutionary work.
The story of a series of teachers and the problems they always had, and it seemed like it was eternal
It was a story written by Mr. Mohsen Yalfani and he himself played it
I was playing the youngest teacher and I was the youngest at the time
Mr. Ali Zarini, Massoud Soltanpour, Nasser Rahmani Nejad himself played and Akbar Zanjanpour played the role of a city teacher
One or two of them had a house and they would gather in this house and talk about their problems.
This theater was performed in the Iran-US Association, and on the seventh and eighth nights, a gentleman came behind the scenes twice
Congratulations and do not be tired, he said and looked here and there, he was a little suspicious
On the tenth night, they pulled the work down and did not allow it to be performed.
One thing I did when I was a student called Rail was a story for Mahmoud Dolatabadi
There was a young man who was driven from everywhere and gathered in a coffee shop.
Mahmoud Dolatabadi also came and saw the performance, it was performed2-3 nights, Akbar Zanjanpour directed this work
This2-3 nights when they gave us a fine arts hall, we went with a full hall and it was a very good performance
And I played the role of that young man, I was young then, I was not like that
The first theater I worked with with the Iranian Theater Association was the enemy of the Ibsen people, Dr. Stockman.
That play was performed at the university in the Fine Arts Hall and then we performed it for2 nights in Rasht
We used to travel a lot by bus or minibus and I learned a lot, for example, from Mahmoud Dolatabadi’s relationship with Fathi.
They made a lot of interesting jokes, made interesting jokes and I learned a lot.
A year before us, Mehdi Hashemi and Dariush Farhang, they also had a group called the Piadeh Theater Group.
They also worked well and had new experiences and did so with the courage of Mehdi and Dariush.
I was also in one or two of these works, one was directed by Mehdi and Dariush and I were playing
One by one, Mehdi and Dariush co-directed, which went on stage at the Iran-US Association, called “Our Small Town,” by Wilder.
Many people played in that job and I got to that Wilder job in the last2-3 days
There was a problem with one of the maps and it did not come and they had1-2 days and Mehdi and Dariush talked to me.
And I said that I will get to work and do not worry at all, we took these two works to Isfahan and performed them there, for the University of Isfahan
The team was very good, there were2 theaters, only on the night of the performance at our university we saw the students chanting and it was crowded
The curtain was closed and we did not know what was going on, so Dariush and I started working.
I mean, I was sitting on a bench on the stage for Dariush to enter
I just looked up and saw that in that dark and light, all the spectators are officers.
We also had our own theater, we had our own dialogues.
For example, we had a dialogue in which I shouted at the police, the police, for example, Dariush was harassing me in that character.
And he said that there is no police who, for example, the police went to arrest homosexuals.
And, for example, the students were crowded until we told the police, I want to express that student spirit at your service.
My second work that started Susan Taslimi and Marzieh Boroumand and Mehdi Hashemi played
Which was a very comic work, for example I remember that one of the children’s dialogue scenes was about what beautiful flowers
Then the dialogue of one of them was that beautiful flowers, these are all thorns
And again the students were crowding, cheering, applauding as if what we were saying
When the theater was over and the curtain was closed, I saw an officer who was a colonel come to you and say, “Who was the director?”
I was so scared for a moment that he came in firmly and said, “Thank you, Doctor, our teacher.”
He said, “Well, what do you mean by saying this?” Dr. Mamnoon said that this did not happen in Iran at all.
We who call the police, we call the American police because the story is happening in America and Britain.
In the evening, the president of the university invited me and we went to dinner and saw that the officers were sitting in the corner.
And well the officers are disciplined, beautiful standing and sitting, well we young girls and boys and the devil laughed at the seriousness of these
And then one of them got up and gave a speech, and the children, especially the girls, laughed and laughed.
Because he spoke very firmly about the situation at that time
Then the president of the university remembered well, I do not know who he was, after that he gave a speech
And very nicely tied our performance and their talk in a way and softened it in a way.
Part 03
A large part of my life was on the stage of fine arts, and later Ms. Saberi and Samandarian worked very hard.
And we became active in Molavi Khel Hall, several masters also came from Farang, and we were already saturated with first-class masters.
Bahram Beizai came to teach us Shakespeare, the theater of the East, India and Indonesia and it was absolutely unique
The doctor was grateful, Dr. Kowsar came from abroad and taught us acting, Dr. Ali Rafiei and Nusrat Karimi taught us
Nusrat Karimi taught us cinema and make-up, the living Morteza Momayez taught us stage and make-up
Madame Sepahi practiced moving and dancing with us, Shahin Farhat and Ms. Berkashli taught us music and rhythm.
We had very good units, it was a golden age, it was a time of first-class teachers and passionate, young and energetic children.
Who were your classmates?
Parviz Pourhosseini, Marzieh Boroumand, Susan Farkhonia and Susan Taslimi, Reza Ghasemi and Hormoz Hedayat were:
Most of our kids were in this field and stayed
Of course, Parviz was already working because we knew Parviz, who later came to get a bachelor’s degree.
Because he was in the Samandarian group and had also acted in a film, he had acted in a film for the Avansians called Cheshmeh
I saw a theater of these when I was in high school, I do not know if it was in one of the Iran-Italy or Iran-Germany cultural associations
He was in one of these halls and Ms. Saberi probably directed that theater and Parviz played the lead role of the man.
And Forough Farrokhzad played the role of the girl, I was in the tenth grade when I went and saw this
In this work, Fanizadeh was Khodabiamerz, Mr. Keshavarz was dear, and the living memory of Massoud Faqih was alive, and this work was unique.
And I saw Forough Farrokhzad on stage there for the first time
I remember when the theater was over, we were with the university kids, for example, Mehdi Hashemi, Dariush, Akbar Zanjanpour, and those who were mostly friends.
Or, for example, with Behrouz Behnejad, whose memory he remembers well, is not now, and he was also one of our classmates, we would go to a rare cafe to see the poets.
They were coming there, one of the children was saying oh Shamloo is there, look at the Third Brotherhood
They were harshly criticizing the existing space, and this was good for us as students.
It was interesting to us that he was talking easily and how well he was saying, these were all classrooms for us
We had a great chance, we spent our adolescence and youth in the age of adulthood
Everywhere we went and looked, we saw great people
You used to say radio or dubbing, you used to say Iranian music and Iranian singers, remember the names, who they were, who our poets were.
I present these periods of our youth, the last30-40 years, the last40-50 years
It was the era of giants, I will describe the giant in terms of being positive and great and great, we were lucky to grow up in the era of giants
We used to meet people on the radio or they would tell us their memories or others like Sirus Ebrahimzadeh would tell us about Akbar Meshkin.
What a pain it was, he was a first-rate musician and actor, he always appeared on time in a pious film despite his illness.
Once they see that Mr. Meshkin did not come, he played with Soraya Ghasemi in that movie
They see that he came to the bottom of the water and fell there, he was sick, everyone talks about this man’s abilities.
I saw them up close once or twice, but we didn’t have a chance to talk, and we just gathered and got scared, they were so important.
In radio, you see in the field of radio acting, in serious fields, novels, stories and plays that were the great works of the world.
What great works they did and what great people and artists they were and are like Parviz Bahram
In Iranian dubbing, we have an Ismaili that we will never have anyone like him, he will not be like Jalilvand anymore
The singer does not come like Wigan and his beloved, no one comes to sing like Parvin anymore
They were really working hard, like Shajarian, how can we have it or the radio on Friday morning, we were really dying of laughter
You do not know how much joy it brings to the homes, so many strong people, strong teams present
They gave, it was very unique
Nozari played the role of Hassan Kababi in pain or Hamid Ghanbari played the role of Fufol
Zarandi played the role of Ms. Shabaji, Mr. Morteza Ahmadi, whose memory is alive, played the role of Tehrani Velvet Hat
And these came and went, beautiful plays that were both critical and really engaging, and comedy and hilarious.
The play “Cotton Seed” was probably in1349, when I was the writer, director and actor, and the first child tele-theater in our history.
Who was the good and loving wife of Davood Rashidi and the respect of Boroumand, who always helped us and
I really say this without any exaggeration that they did a great job, in my opinion, Davood Rashidi has done a lot of great things.
Maybe everyone owes it to him, that is, he went to everyone for everyone and turned around and did his job.
And we formed the theater group today, and Davood said, “Do the same things you did in the center, come here.”
My group is today’s theater group, and you should wash today’s children and teenagers’ group and name it today
And we also made a caption whose poem was also said by Behrouz Gharibpour
Theater Day Today, the story you want is here, the happiness you want is here
This story was one of the stories that the late Sobhi was telling on the radio and we were listening to it.
One of those stories was about a sparrow that found a cotton boll and did not know what it was.
And he realized anyway, and so he gave it to different jobs to work on, and it turned into yarn and then fabric.
Dye the dye and embroider it, etc., each of them told them what they wanted.
For example, you would cut this cotton, half of you and half of me, and he would do this, but when the tailor sews2 beautiful shirts
The sparrow does not want to give him his share and fulfill his right and pay his wages and grabs2 shirts and runs away and climbs a tree.
He did not need these because the weather was not cold yet, until he went to a merchant and borrowed them.
To come and get it later, when the air gets cold and it rains and snows, when we make the snow ourselves and pour the snow on the stage
He remembers the shirts and goes to the merchant, but the merchant denies it and says that you did not lend me the shirt.
The merchant makes a promise and the sparrow in a scene where the merchant woman takes off these two shirts and hangs them on a leash.
He comes and picks them up and cuts them and gives them to the tailor and everyone is happy.
I remember Mr. Hossein Ali Tabatabai who was a translator and worked with our group and was a friend of Davood Rashidi.
And they came with Mr. Rashidi and saw the last rehearsal. They liked our performance very much
Because we also had the instruments and created the atmosphere, and this was the first work that was recorded and broadcast in1949 in the children and teenagers’ theater in the children’s group of Channel2.
I played a role in Maroujek, directed by a university kid named Mr. Khosrow Peyman, who is still there.
And Baqer Karimpour and I and another friend were playing, which fortunately we practiced later.
Mr. Houshang Beheshti and I and Ferdows Kaviani and I practiced, but the TV did not record it
Another10 years passed and Mr. Nasirian and Moedabian and I played this
There I played the role of the average person, but here I played the role of the little man
The role of the great man was played by the polite and the role of the average man that I played as a student was taken by Mr. Nasirian.
And how good it was, I do not know if you are familiar with the story, or, Maroujek wrote this and it is a modern work
They get stuck in the sea and run out of food, now they have to decide what to do
They have to eat the little one, and the high school is gradually leaning towards the big one and giving lectures.
He says now that we want to eat you, you can wash your hands and feet, now you can also talk about freedom.
It was a beautiful job and between the performance of the work, for example, a postman comes and the swimmers come and send a letter to Kent, who is the same big man.
Then another one comes and goes, they come but they hit the water again and they leave, these too are wandering in the water
The work was called a wandering boat, but the polite ones translated the one we played later into the name of the expanse of the seas.
What I did with Dr. Kowsar, our professor from the United States, was the first thing they did on stage, and it was a play called Lorenzacio by Alfred Dumuse.
The theater was too heavy and beautiful, a role a friend could not attend to perform
And at that time we did not have a phone and I saw that one of the college kids who knew about our house came to our house.
That Dr. Kowsar said to come, there are3-4 days and we need you and you should come
I went and the role was good and heavy, I went and it gave me separate exercises
Because it was a classic work and it had basic dialogues and it could not be improvised or made by ourselves.
There were many children in that work, such as Saeed Poursamimi, Amin Tarakh, me and the same group who worked with Dr. Kowsar, and this was my first experience working with our teacher, Dr. Kowsar.
Dr. Kowsar, who came from the United States, started working and came up with new methods and strange exercises
And I was one of the kids in his class who got his attention and he did a lot of great things, in2 of which I played the main roles and he cut my skin.
I played the fourth Henry play of Pirandello, not for Shakespeare, it was a strange work and Khosrow Shakibaei’s life also played the opposite role to me.
Patience was a negative role and I was the fourth artist and the children of our class and the children of other classes and then us
Like Amin Tarakh and Habib Dehghanansab, the living memory of Behrouz Ghorban Masrouri, all of them were in that work.
What we did was the life of Davood Rashidi, the director of the film and series, and he said, “Let’s record this.”
And at that time the TV was not colored yet, and the next year it was colored, and well, we recorded that
I remember in the studio where we were rehearsing, I, a historian and a peasant, brought it from a sack.
Because the ground was getting wet and the water was collecting, they were peeling from our sweat.
He used to say that this is the fourth art, you have to walk like the fourth art, your steps must be strong
Sir,2 strange shoes with big legs, 7-8 bigger size, they also tied around my legs with heavy things, they also tied my arms.
Ever since we went to the rehearsal to perform, the rehearsal that we have to move with the mezzanine, my hands have been tied.
A particle that came down on my head, came and crashed under me and told me to look at everyone from above
I used to say that he is tall, he used to say, look at him from above, Tarkh and Habib Dehghan are taller than you, but you look at them from above.
After a long time and close to the TV recording, he opened my left hand so that I could work a little with my left hand, then on the last day, he opened my right hand.
I remember it was a very difficult monologue that could not be done at all and required a lot of energy
He said bring that mattress, they brought the exercise mat and he said you only hit it with your fist and kick and you say this monologue
Once, twice, three times, I finally experienced it and it went and settled in me
It was as if the filter of my being had passed through, and now I discovered that crazy person, because the fourth art is going crazy.
Interestingly, he wrote very well, in the masquerade, everyone does not choose a historical figure, this also chooses the fourth art.
His love rival, Khosrow Shakibaei, is alive.
When he regains consciousness, he thinks that it is the fourth art and now all his orders must be obeyed
And they turn off the electricity and use the candlestick, and the space becomes the space of that period.
He chose this role of a priest and now he becomes a priest of the same fourth artistic period
He becomes a bishop, just when he has contact and the debt is not like that, and then the psychiatrist has to come.
And they just take it in that space and it’s believed, and there are other people and all the consultants and it’s ordering them to do it.
One place where he kills his opponent, he plays in the same role he is playing, and the other is in the old space.
I get involved with Khosrow and stab him and everyone is there.
And they leave and only the advisers stay
I go and sit down and start lecturing all at once that I’m been well for a long time, I’m not the fourth artist
And they look at each other and tell them how long the idiots can put your hat on, how long they can play for you
You want someone to play for you, someone to play for you and you obey, the text is very strong
Dr. Mohammad Kowsar chose me for the main role of the wizards of the city of Salem by Arthur Miller, a good, valuable and great playwright
He chose me for the role of John Proctor, who was the main character, and we started rehearsing, which was hard rehearsals
Because we used to work with us a lot, like physical work and voice work, before we even got to the text.
We were ironing, we were indirectly working on the maps, we were not just sitting around the table reading the text.
It did not start from the text, it started from us and it reached the text and they got the role
We performed the scene for a month or more, and then in the same hall, Ms. Dolatshahi, the TV director, recorded it.
Soodabeh Farkhonia was playing the role of my wife, Davood Fath Ali Beygi was in that job, Susan Maghsoudloo was, Yasman Araminia was
It was well recorded and broadcast and it was very successful, some bishops and priests and they want to take power
And they start creating a ceremony with a bunch of young girls and a bunch of witches.
And then they say that they became Jenny somehow, and then a bigger bishop comes from other cities and judges these girls.
And these girls say that we found out that there are many people in this city who do not go the right way and have huge problems.
And these girls take letters, that is, the priest takes them to a nervous state.
That they also say the different names of the people of that city of Salem, and in any case, for their own interests, they remove them one by one.
That this John Proctor and his wife are also villagers, and according to Miller’s plays, the main character of the story has always slipped somewhere and committed a sin.
And in any case, you have to pay back, and this projector John also had a slip
The bishop comes and interrogates us at home, but at first he comes very respectfully and very respectfully.
He asks a lot of questions and then asks the principles of Christianity and tells everyone that, for example, you should respect your neighbors.
And you should not kill animals, but he can not say one thing, do not commit adultery, he can not say, and the bishop understands
First, his wife is taken away because, as a servant, she is one of those girls who took the name of John Proctor’s wife.
And at the end of the story, when the agents come and take the woman and she protests, she shouts at the bishop.
I remember there was a scene where he grabbed the employee by the throat and pressed it, it was the first thing that Golchehreh Sajjadieh played
The role of the employee, how well he played and says a long monologue and protests against it, and then seeks refuge in God and says all this
Part 04
Parviz Pourhosseini came and said that the director of the Iran-US Association is Mr. Dan Lafon, Ms. Amirarajmand from the Children’s Intellectual Development Center said
We have a children’s cinema, we have a children’s book, we have a painter, Kiarostami is there and he is working, Nader Ebrahimi is writing a story
Ahmad Reza Ahmadi works there and writes stories, all these people are there, but what about the theater department?
He (Dan Lafon) told him, “Can you start this?” Like Parviz, he had played a lot in the Iran-US Association and was more experienced than us, either with the living memory of Samandarian or with Ms. Saberi.
He came and told me and Marzieh Boroumand and Bahram Shah Mohammadloo and Alireza Hedayi and we gathered and went there
We saw that yes he is and now he is talking, Parviz had also come, in addition to the translator he had and he was among us
Bijan Mofid and Bahman’s living brother, Ardavan Mofid, who was both his translator and was supposed to play like us
He explained that I want to work and perform everywhere, I do not want to work on stage, we want to go and perform in hospitals
To perform for working children, which we performed, to perform for the blind, to perform for the deaf
We said eyes, we are, they specified and said how much you get and we said for example1200 Tomans
He went and talked and said that they were supposed to give you1100 Tomans, that was a lot at that time
Dan Lafon was an American director who had gone and talked to the accounting department of the Children’s Intellectual Development Center
They accepted and we were happy because we were students and moneyless and we ran to Laleh Park.
Our center was Laleh Park and there was no theater there yet, so what should we do when he started rehearsing with us?
And we saw what good exercises he knew because he was directing, we practiced and he made and prepared us
And he said that there is a theater written by Bijan Mofid and that is why we want to start with the name of Tarb
This text was rewritten by Bijan Mofid’s father, Hossein Khan Mofid and Bahram Beizai’s father.
Anyway, what Bijan wrote was unique, it was all poetry, Bijan was also funny and the god of these words
We read this and saw how good it was, then we split the maps and started practicing
And we asked what his plan was, we saw that he explained something and Ardavan translated
He said that we have3 tarpaulins, circular tarpaulins, for example,4 meters by4 meters, we folded them and put them in a box.
These are our tools, if we have other tools, it is yours, we will reach and spread them.
And according to the space we have, we choose the color, and the first performance we did is the first performance of children’s theater in Iran
Which was very professional, both modern and very fancy
We put on the clothes and he said today that you are running here, there is a stair here, we are putting this red box under
You come down the stairs, open the box, and the kids who are sitting here, you come in pairs, and hello, and so on, and so on.
We greeted each other and performed our first acts there, and what a welcome it was.
And we said that this is a plain and then we started giving some of the flowers we had to the children.
And we said that you can become a flower, our flowers can be you and we play in this plain
Ardavan also played the role of Horseradish, I played the role of father and Bahram played the role of son, Marzieh Boroumand played the role of mother and Susan Farkhonia played the role of daughter.
And we performed this and it was very well received, for the second performance we said what should we do, we decided to go to Laleh Park
We went and spread the tarpaulins on the grass and started singing drums and these and the people gathered.
Good photos of Ibrahim Haghighi from our second performance, of people who came and got curious and stood up and were really attracted to the performance.
Both children and adults, even the old gardener in the garden is smiling.
And we performed there, and our second experience was a street experience, and it was a kind of participatory theater, which is now performed badly in many places.
Members of our dear friends perform well, and some even say louder and louder and shout as much as children.
Then we said, well, what do we do now? He said we are going to all the libraries, to the treasury library, then to the Yusufabad library
And the kids really welcomed it and saw the theater for the first time, our main goal was to train a cultured and good spectator from then on.
I remember that some time ago I went to open the theater of Mr. Fadaei Hossein’s working children with a friend named Mr. Jahangirian, a friend of the author.
And Mr. Akbarloo, who is active in the field of children, we went to Qom, and they appreciated us
And they said that about forty years ago, he played his first children’s theater in Qom, which was the Tarb Theater.
Each of us, the children of the Kanoon Theater Group, now had a theater class in addition to our own performances
For example, I had a class at the bottom of Hashemi Street and one in Yusufabad, we would choose one north and one south.
One, for example, went to class in Niavaran and the second class went to the treasury
We educated the children, we taught them well as actors, but we preferred them to grow up, to be knowledgeable and professional spectators.
Both in our performances and in the theater classes we had, our goal was good and we wanted to build a better generation.
And the center is really one of the top places in my opinion
I remember that my class was coming to an end. I was waiting for the honorable dear Hossein Alizadeh.
The instrument was played there, the ground was the orf instruments so that these children could learn rhythm and harmonize.
Sometimes I was open in class waiting for class to end and it was my turn to start a theater class.
I could see how much he and the children were working with him and he was teaching the children
The center had very good classes in various fields and I am still the teenagers and children who were our students.
And I even see the spectators of that period who became great people, I see a lot of people who say we saw your work then
I see that he is well dressed, he stands up and he speaks correctly that the center has an effect and this effect has been very good.
The children of the periods after us in the center are still working well, Behrooz Gharibpour came in the period after us
Adel Bazdudeh came, Kambiz Mufakhm came alive
I thought of writing something under the influence of Bijan’s life, I wrote a play called Khorshid Khanum Aftabkan
We made an appointment with Bijan one day and I sat down and read this useful to Bijan
Then he said a few things, I fixed it and he said go and run
It was director Dan Lafon who said, “How did you see the maps?” I said, “Well, I considered myself a storyteller.”
Who later plays the role of the wind, I saw Aunt Trumpet for Marzieh and the role of the mushroom is useful for Ardavan
I saw two pigeons for Bahram Shah Mohammadloo and Susan Farkhonia
He said what should we do with Ms. Khorshid? Another actor needed, Mr. Lafon said, “Hilla, let’s go rehearsal.”
We went to practice and he said we choose the sun from among the spectators, from among the children
I said how? He said first we say that we divide the roles, I say you play this, you play this and now we make up
What to do with makeup? We gave makeup to the kids around us
Well, for example, I want to be a speaker and then I want to be a wind
That kid was with something like a crayon but he used to make up that they had prepared, he was making me up
Every performance was done in the same way, I even remember that in one performance one of the children wrote a dove on the forehead of Bahram Shah Mohammadloo
Bahram said, “Make me a dove,” and the child wrote, “Dove.”
You mean, like, the kids were making up?
Yes, the kids used to make us up, after the make-up we would say, well, you each play these roles
Then we would say, oh, we have a small role, what should we do? There is nothing wrong with that, let’s choose from the children
We used to say, when are the children ready to play the role of the sun lady? Everyone was saying me, me
We used to say that when it’s not possible, we should try, someone who speaks louder and practices
Basically, let’s practice a poem, for example, Ms. Khorshid Aftab, read a handful of rice in water.
For example, you sing, you sing, now let’s all sing together, this is good, the children, these4 people are good, but let us choose one.
We put a two-way ladder and it went up and a crown on his head to play that role
We had shortened his dialogue, and whenever it was his turn to dialogue, I, as a storyteller, would stand by him.
And I would say go black cloud, and he would say go black cloud or any other dialogue and these kids would play everywhere
And this role was played by different people and they had very good performances
And apart from the libraries and places where the kids were, we went to a lot of cities, from south and north and east and west.
After we left the center, I will now tell you what happened to her, Ms. Khorshid Aftab, her stage performance because it was theirs’s
They took this show to England, Ms. Mofid Hengameh was one of the actors and the team that took them to a festival in England.
He said that he was very welcomed and that some time ago I was talking to him on the phone.
They said that we had taught them to say in English, “Go, black cloud of children.”
Or places where they asked for help. The children all helped and empathized with each other and said in English, “Go, black cloud.”
He used to say that he liked it very much, even the older ones liked it, this was the first theatrical play I wrote in my life.
As soon as we went to the center, we became overwhelmed with children’s theater
Bijan Mofid wrote another play called Koti Moti
We started walking and apart from Tehran and libraries, we went to places where there were children, there were teenagers.
For example, we went to a place where delinquent children are kept in a beautiful city, and we performed for them there several times.
We went and performed for the blind in the beautiful city, our audience was blind and it was a strange experience.
And it was one of our best performances, first we exaggerated a bit, then we saw that there is no need at all, we can do the same things even more delicately
Sometimes we would go to the children’s hospital, some of the children would be brought in wheelchairs or beds.
And the colored circular tarpaulins were our scene where we grabbed our columns and used them to reach our spectators.
We went to the spectator, not the spectator coming towards us
I remember once we were performing Koti Moti in Nazi Abad in the library and the children were sitting around us.
Mr. Hedayi and I had not yet been on stage, and we were sitting between the children and next to the stage-shaped tarpaulin.
I once saw the door open and Farah came to you
Farah came and they put the sofa on and she sat back, watched for a while and then left, I had not been on stage at that time.
Now that I said Farah, there was a reason, because somewhere in the play Ms. Khorshid
We used to say, children, well, the wind is blowing now, it is not strong enough, or these pigeons are not strong enough to take this cloud away and turn it on again.
Even in the darkness that can not live, these flowers that dry up and pigeons that can not fly and play
What should we do? We should get help, we said who should we get help from? One said my father, one said my uncle
One said Farah, one said Shah, one said God, one said Imam Zaman
In the same way, the children said whatever was in their hearts, for every culture and every family, they shouted it.
And finally, they themselves started by participating with the wind to help dispel this evil black cloud.
Because the cloud of the day had come and blocked the sun, and it was not one of those thick clouds that rain and is in the dialogue that the storyteller tells.
From those black clouds, from those black monster clouds that came and went until they reached the sun and it was like this
We did a great job of Bijan Mofid in the center called Shaparak Khanum, this is one of the unique performances
According to many who came and saw it, it was a shocking story, it was useful to the public, both children and teenagers.
She was Shaparki, the woman who played the role of a curious woman for me, Ms. Susan Farkhonia, who played the role of Shapark Khanum.
Mofid wrote this theater and said I wrote this for the stage, a big stage like the city theater
There is also a theater in Niavaran Park, which we called the Stone Theater.
We told them to go and perform there from10 pm, when the park is closed in the summer, and the spectators and people would buy tickets and tickets.
And it was the story of a shopper who was flying and suddenly found himself in a crypt, a dark crypt.
What is a dark crypt, now a spider that has been woven and is stuck in the taropod of this thread
He begs that I am a child, I am small, set me free, the last spider says on one condition
It started with a song and had many beautiful songs, Ardavan Mofid said in the role of a spider.
I’m beautiful and beautiful like the moon, I have slim and black legs
Then we all said he was right, he was right, he was right, he was right
He reads the rest of the poem again and that was his preference. He is right.
And a lot of people were paying attention, and at that time every person who came on stage was5-6 high up on the big screen.
And the slides of that character came with different gestures and things, stayed on the slide and the game started.
Then we all had something to play with that music and help
And the spider said that you should bring someone so that I can have enough and I can release you.
And Shapark walks towards different characters like Aunt Beetle, Aunt Beetle and he talks in a way that
My children are like this, cockroaches and muskets like this, Aunt Beetle had2 small children, she said we live our lives with misery
And he came to a place where Shapark said go, go, I do not want, he did not like
I played the role of the fly, which was called Professor Magis, who was a showman, and he also did magic, which I also did.
They brought something and taught it and I did it, in short, Shapark brought the flies, the flies were very funny and they laughed a lot in his scenes.
For example, you would eat my body and I would always say, “Eat it here now,” and then we would say, “Akhiz, Zakhish, Shakhiz, I used to play with the letter” Z “and there was a whiz.
And this had blossomed a lot between the children and the spectators, one night when it rained heavily and flooded in Niavaran, we continued the show and the spectators sat down and did not move.
And then when they left, everyone was frozen and they said, “Okay, Zakhish, they were saying my dialogues.”
Shapark used to repeat this and go like this and find different characters.
The next character, for example, was a locust, which was a worker who saw with his feet.
Then he would come to a western city that had a western city and he would say that this is a western city, of all colors.
But one sings things in a false way, one sings where Shaparak was looking in the city of Farang and he was singing his song.
He would say, for example, this or that, then Shaparak would say no, no, this is not it, this is a lie, you are teaching me a lie.
There he decides not to take it either and then he comes and tells the spider to eat me, he comes and says I am ready, I did not find anyone
Which was both a strange city theater performance and a performance there, in the Shaparak city theater performance he said eat me and the spider said no, I wanted to try you
He would say go, in freedom and then a white cloth would come from the ceiling, there was light and it would fade in the light and it would not be there anymore and it worked a lot.
Goodbye was the year1952, it was a Russian play directed by our teacher Ismail Shangleh
He invited Marzieh Boroumand and me to play when we were students and the TV was still black and white and not colored.
Here, too, studios11 and12 and the rest had traffic, and we went to Shiraz and recorded the work in the Shiraz TV studio.
The TV director of this work was Mohammad Yousef, who was also a student of our college and did a lot of new things.
That is, he was trying to transform television recording and filming
One day we talked about what to do for teenagers, Dan Lafon did something very good at university.
A friend from the upper classes named Parviz Khazraei that we never saw again, his wife Farkhondeh Barvar was a good actor
He directed a play in which his wife played with Akbar Zanjanpour named Arya Dakapo.
We started practicing, there were2 clowns, one played by Ardavan Mofid and the other by Marzieh Boroumand.
There were2 peasants, one of whom played me and the other Bahram Shah Mohammadloo
And there was a man who had to wear big shoes called couture shoes.
And this is how it comes and goes, and it sits up and watches, and that’s what we practiced and performed on stage for teenagers.
They were all teenagers and young people, you believe, it had such a good audience and a good presence
Everything was going well and happily when we were offered to take one of the horse races or something else and perform in a certain place.
Hey we resisted and said we are not and we should not go to the palace or perform in a certain place
Anyway, we were students at that time, we used to say that whoever wants to see the performance, let him see it with the children.
Because for those special kids, we do not do any special performances, we briefly resisted and somewhere one of the girls said I will not come anymore
I said behind my back, I am not either, I do not work at all anymore, and then Marzieh mediated so much that you should wait and let us talk.
Let’s not spoil, now for2-3 years something has been made that was very brilliant
Then we said no and we left the center and now in the midst of all this I got married
My daughter Bahar was about to be born, her mother’s alive was sick and she was having a hard time giving birth, she went to a private hospital in Asia and I did not have a penny for a century.
In short, with this and that, we made money, friends and kids helped, and we got into some debt and work.
One of the children brought a car and we were able to bring the child, there was heavy snow in Tehran.
Ms. Ehteram Boroumand and Davood Rashidi are one of the dearest in my life, they are very big
Davood Rashidi, who was also the director of the film and series, had said on TV that he should tell the children to express themselves here and form a group, they should not be unemployed.
Say it here, I have a group myself, today’s theater group, these also become today’s children’s theater group
Let them work and record on TV, as if they gave us the world, after unemployment and a break in the middle, we came to TV
Davood gave us a salary and we formed a group, so what should we do on TV, I do not know the medium of TV at all.
I’m a student and I do not know anything about television, I thought at first that these are movies, they are negative
I did not know that this sex is different, to Ruhollah ….. I said you were laughing, he thought we were joking
And yet when he saw me once, he said he thought I was joking, I said no, I really did not know, I was recording the work and I did not know what it was.
It was all love, we were so overwhelmed with work, I was at the end of high school that I remember my wife who was our neighbor, her mother came and talked to my mother
It seems that he has to take a course in the summer and I was supposed to teach him
And I really fell in love with him, that is, I fell in love, it was before the military that we wrote letters to each other in the military.
By the time I got to college, I was married for the first or second year
In one of the first films that Mr. Aslani made for children, they needed a teacher in one scene, there was also a long sequence in Bad Give.
I brought him and he played the role of a teacher, he was not in our field of work, but in many places he was with me and encouraged me.
It was very painful that I lost him in1975 and the loss was so great and a great tragedy befell me.
And I wrote a lot of poems and I wrote a collection of poems for him and by reciting these poems, I also paid homage to his beautiful presence in life.
And his good morals and his honor and purity
In the red waves of the sea sitting in the sun, you with the breeze of your breath, the only lover, the only friend
Broad silk in the infinite expanse of the sea on the shores of fish and shells and lovers of cuddling and trembling slowly
You are a bird mixed with sunny blood sitting on a chicken with its head beyond the bed and the head You sing the wind, the wings and the kite
O broken-winged hen, the maniac bird of the band, the bloodied mistress, my sweet lily
It rains from the restless sky of your eyes, where thousands of faces have formed
To turn the damp beach of heartless lovers into a rugged plain of anemones and paddy fields
Aromatic plain of red, white and yellow flowers that give the sky and air a fresh color and aroma
You play the old man with the nightingale of the plain, play my lonely song and sing and cry
Part 05
The first work I played after the revolution was written and directed by Saeed Poursamimi called The Story of Zahak
Writing the story of Zahak very well was a very good start for a society that had just entered the revolution
And there, too, in the end, the work of Fereydoun and these, among others, Kaveh talks about
But Fereydoun and a group of people overthrow Zahan
It was great work and we practiced for a long time because it was hard
He had long monologues and I had to say them, I played the role of Zahak
Now, I do not know why Saeed chose me for the role of Zahak
But it was a strange experience to be able to show this person, that character with all his violence and madness.
And Saeed worked very well, really skinned us, practiced very hard with us
Sometimes until midnight it forced us to stay and rehearse and perform and read and settle down.
Bahram Shahmohammadlou also played the role of the devil, how well he played and the other children were all good
Anyway, he came on stage very successfully and many different strata came and saw this work and it was very welcomed.
I saw several times that there were several clerics in the audience and they were interested to see or hear this and they came to see it.
After that, Mr. Poursamimi wrote another work, which was also a beautiful work. It was not performed in the main hall of the city theater.
It was the story of Anoushirvan Zang, who wrote very well in the form of humor with good literature
That he was a village man, that I was the village man who came in with a donkey, that we had brought a real donkey
Of course, that donkey was paid more than me, we always laughed about that
That is, the money that the owner of that donkey and that donkey took with straw and barley did not reach us anymore, he became an actor, a four-legged actor
I was thinking of doing a child and teenager’s work when I picked up some of Samad Behrangi’s stories, Aldoz and the crows.
Dozen and the Storyteller Doll A story, which could be up to2, in addition to references to the story of the little black fish
Which appeared as a color play on the screen, I performed in Charso and it was very well received.
He fired several shots at the air at work to disperse the crowd
We had3 performances on holidays, but we did not have a hall for more than a month, even though it was crowded, we could not continue.
Then this Mr. Ismail Khalaj was going to do something there and we talked to him to put it back a bit because our theater has an audience.
But apparently it was not possible for them either, we went and talked to the director of the Museum of Contemporary Art, there is a hall there
He said, “I will give you the hall for20 nights and let’s perform. We performed there after a few days break, and we performed there with a full hall.”
We performed in a packed hall and the show was to be recorded, they said we would record a TV show
That the director general of the theater saw me one day when we were performing in the city theater and said no, we will not record it
At that time, Marzieh also brought a work on stage in the same Charso called Sara
It was a puppet work and it was a good work, I think it was a very strong puppet work that the kid was taken seriously again.
We did three things, one of which was done by Bahram Shahmohammadlou, which was improvised and they made the story themselves, called a pair of shoes for Zahra.
We were at work, we were a group and we all had our consultations together, a pair of shoes for Zahra was very welcome
Sarah was very well received, and the Dodgers and the Crows are three memorable works that those who still see her say that she remembers well.
I did the stage work after a14-year break, I wrote a work by Mahmoud Ostad Mohammad called The Last Game
And he had2 main actors who talked to Akbar Zanjanpour and me, I read the text and I was tempted to play this role
We performed that work in Sar Niavaran Hall, it was very beautiful, because it is the story of an actor and his love of acting, and exactly all of his films are memorized.
And he can play all his roles as himself, and because it was related to cinema and it was related to acting that is abroad.
and now He has melancholy and now he is dealing with this person who loves this actor
I remember Majid Mozaffari saying that he saw this5-6 times, it was a sanctity that he was one of the actors in cinema at that time.
Fardin came alive to see this and came behind the scenes
We worked the horses in the big theater hall of the city, it had a religious dimension
It was related to the events of Ashura, it was performed magnificently, the facilities were good
Shah Ebrahimi’s unique design, they made a big horse with metal that brought Mr. Rashidi4 people, which had this monologue
And in our scene, Mr. Shah Ebrahimi had a ramp from the entrance of the spectators, he had come and we had40 horses, a horse they had made.
The male and female actors came with these and their invasion which had a strange rhythm and strange percussion music.
I did something with Mohammad Rahmanian called Paul, Charso Hall was performed in the city theater, it was very good
It was a unique text, along with Aghaloo’s life, which was unparalleled on stage, Aghaloo was unique in his acting, character and character.
And he was a great man, we played with him and other friends like Ali Omrani and Khosrow Ahmadi were many.
I did that work too and a lot of theaters came, I remember that Mr. Beizai came and saw the work, a lot of great people came and saw the work and liked it.
I was worried that after28-29 years I would do something for children and teenagers so that adults could come and see and communicate with them.
I received a text that I did not like, it was translated by Nasser Hosseini Mehr and I read it and took it from him
And then I talked to my friend Mr. Charmshir and we made some changes and I added the things I wanted to the text, like a clown.
The play was about Hamlet as a child, his name was Hamlet, the little prince of Denmark
Look behind the scenes, for example, Amir Esbatian came and became a decor and costume designer for me
Saeed Zehni came to make music, Mohammad Aqebati came and stood next to me
Mehdi Koushki came and became my playwright, that is, I left such a team, Bahram Shah Mohammadloo, Lily Rashidi and Parasto Golestani came.
The main characters are Hamlet, for example, 7-8,10 years old, with Ophelia 7-,10 years old.
I gave Hamlet Hamlet Lily Rashidi played, I made her a son, just as I made Razieh Boroumand her son in the role of Yashar in Aldoz and the Crows
Because it becomes more believable, because their voice is thin, when you dress the boys’s clothes and make up the boys and put a hat on their heads, they become sex themselves
That is, the boy himself, you do not need to bring a child and do a professional job with the child
Hard, short moments can be chosen from the child, I’m fine
I use small, short and small actors for child roles
Hamlet’s uncle was Claudius Bahram Shah Mohammadlu, Polonius was the father of Ophelia Hassan Dadshkar
You do not know that the child spectator is one of the purest spectators, one of the most cynical and cocooned people are the children.
They are the most honorable human beings and they fully reveal themselves and say whatever is in their heart, dislike it, get up and leave.
If he does not know something, he asks his mother loudly, “What does this mean?”
Hey, we were preventing him from eating this, one of the children got angry and said how dumb this king’s father was, he got up and shouted this
The play received very good reviews, they even gave me a critics’ award, the critics gave an award
In the opinion of me and many friends in the field of child and adolescent work, like some of our past work, it was3-40 years ahead of its time, but it was understandable to the viewer.
My opinion has been that we should not underestimate the children, the children are small, young, but human and have a high understanding.
Part 06
Hats, scarves and saws are the second theater in the history of children, in the field of tele-theater, of course
I wrote this, he was thinking of an ironic story again, there is a fox that changes shape and takes the story forward in the story
It got a nice format, we played good music, it had good games, it was well designed
And this was, for example, one of the works that was taken to TV festivals in Poland or the Czech Republic.
Ms. Shorouqi, the producer, later saw me and said, “We took this with you.”
And there they talked a lot about this and said that compared to previous years when you were working from Iran
It is as if you jumped forward in the field of child labor for30-40 years
What was going on for the child then, before we started tele-theater, or was just a simple storytelling
Or, for example, one or two people would come and wash the children and do some work, or they would make a deal, and it was kind of like a participatory theater.
But this show suddenly changed the work of hats, scarves and saws, and that year I was awarded at the TV Festival as the best work in the field of theater.
A silver cup, they are, it is high, 90% of it is silver, I think it is worth it, this putty can save me
Is silver now considered hot? It is about one kilo, if it is silver, they should buy it, but it is a pity that it is a souvenir
These are priceless
No, these are priceless, for example we have to give them to the documentation center
From the actors of hats, scarves and saws, I played the role of a fox, Marzieh Boroumand played the grandmother of the crow
The Crow was played by Susan Farkhonia, who works in England and there.
Ahmad Aghalo’s life is his first TV work that I asked for and he came
Ali Elhami Manesh played the role of storyteller, Hassan Dadashkar played the role of gardener
And we had a few little dolls, like baby crows, and an owl, which was the first glove doll I gave Mr. Mohtasham.
Because we did not have a doll maker at that time, I did not know anyone, Mr. Mohtasham said that I would make
And it is the first theater that was used as a puppet and it was the first puppet
I wish I had kept that doll, we were children then and we did not realize that these are a pity
The Thief and the Red was a show for children, written in the54th year of the life of Kayhan Rahgzar
He told me that I wrote a child work and you, who do child work, read it and I liked it very much.
I recorded this on TV, and on one occasion, along with a play of my own, the city theater belonged to the television at the time.
We also used TV easily, I staged these two works together in the big theater hall of the city
And he was very lucky and the families and children came and saw, it was a very good show, the memory of Kayhan Rahgazar alive
The Bear and the Honey Pot was a play that Dr. Hossein Ali Tabatabai collaborated with us in the play unit
He was a friend of Davood Rashidi, so he translated it and gave it to me to work on
I told Bahram Shah Mohammadloo to do this, I worked a lot, let the other children work too, not just one person
This is what Bahram Shah Mohammadloo did, I played the role of a fox again, I played several roles of a fox in a video and on TV
In our stories and culture, the fox has this character, the dog is faithful, the fox is also a trickster.
I play the role of a swindler well, but I am not a swindler myself
About good negative roles, everyone says do not play a negative role, but good makeup helps a person’s appearance.
But so many of these evils are in man, either hidden or that he has seen and experienced in others anyway.
I like these very much, it’s a good experience working on negative maps, something else comes out of this person
Rain Rain was also a theater I wrote for children and teenagers
I told Bahram Shahmohammadlou to come forward and direct and write from me
And it worked well and it was a good performance, the TV was colored and it was a beautiful performance
I remember we did a very good job on TV by John Steinbeck, it was weird.
And time It was the war that was recorded and broadcast, a group of Germans invaded a small town and took the mayor and made the municipality their base.
I played the role of the mayor, Mr. Shangleh, the friend of the mayor, played the role of my wife, Ms. Sheikhi.
His name was Hidden Moon, Khosrow Shayesteh had arranged it and made it into a serial, multi-part or tele-theater.
We recorded, Alireza was luxurious, it was Aghaloo who played the role of a German
This showed the beautiful dimensions of a vicious invasion of a country
And the anti-war dimension was so subtle and beautiful that this mayor all said that I do not decide, whatever people say is the same
The mayor was a very gentle man, but he was sentenced to be shot, and this was the last scene in the municipality.
His friends and his wife stopped, the Germans all stopped, it just says let me remember something
I say to Mr. Shangleh, who played the role of my friend in the play, do you remember we played the role of Socrates in school?
And there was a monologue that says Socrates and then Socrates is killed, that monologue is called mayor
For a while, I used to say this and then I would stay and say that I still remember Josh.
I remember the others, who smiled and looked at their friend that he might have remembered.
He also does not remember to execute the rest and then the mayor is taken away and the sound of gunfire comes.
Dancing Slave was a story written in the books of the Children’s Intellectual Development Center and written for teenagers.
He talked to Mr. Moarefi and he said that I would like to do this on the text
He wrote and we helped and a correction was made, it was made in a situation where we should have film and cinema facilities.
But we had to record it in the form of a tele-theater and in the studio, and because we wanted to ship, of course we used some parts of it, so we used the chromakey technique.
Sometimes when we wanted to see this ship at sea, we caught it with a blue curtain
He was a businessman, he was a storyteller, he was not an irony, I played the role of a ship captain who was also very violent.
And he ordered that in many places these slaves would be thrown into the water where we had taken these scenes in the same studio.
Alexander the Great was written by Davood Mirbagheri, it was the year 63 and it was the first thing we did with Davood
He wrote a very good tele-theater about Alexander, which was very good text, very good language and very well designed.
Let me remind you of the life of Farhang Moayeri, she did the makeup very well, the clothes worked very well
In this work, I was an Iranian man who stood up to Alexander, who invaded and conquered this country.
These are two weights against each other and for a moment this Iranian person drives them crazy.
It challenges even their philosophers, even their warriors, even their generals.
And one sees that these people are falling down, they want to kill him but they do not kill him
And they are constantly curious to talk to this person again and the conflict continues, but at the last moment the scene turns red and this person is killed.
We were supposed to do some humorous work as well. We are a good translator with Dariush Moadabian.
And because Darius is from the theater, he translates well in his translation work so that it is easy to perform.
And it is very important for the actor who wants to say these dialogues
We were supposed to do several things, but in that series of satirists, there was one work that belonged to UNESCO, which offered it to me, and I liked it very much.
We recorded it, I was with the living memory of Ms. Sheikhi who played the role of my wife
And Ferdows Kaviani was dear and had a minor role, which was the thickness of the house, which because Abdi was also part of the team.
He told me to play this, that is, to play the role of a woman, who was not allowed to play again, and we brought the role of Ms. Susan Maghsoudloo for that role.
Part 07
It was the story of an anonymous traveler in1964, and it was the second thing I did with Davood Mirbagheri.
He wrote and directed and we wanted to record, it was tele-theater mode and it was5-6 episodes.
It was a very beautiful story, we recorded it in the studio, but it also had an outsider that was scarce
There was a man who was the main character and I was playing the role of his son who was lost and in the first scene he was also digging on unknown graves.
Who sometimes sits on a grave and starts communicating with his son
And that boy appears in the picture and they are arguing and having a dialogue
Texts were written by several authors, one of which was My Name Is, But Black, related to the liberation movements of parts of Africa.
The subject showed the suffering of blacks, they made me black again, they made curly hair and left it, Reza Radmanesh Grimoire was the one who did the makeup well
My dear Mr. Tabatabai played the opposite role, and Kazem Baluchi was in that role.
I have written and performed a lot of plays, now they have either been performed on stage or recorded on TV
After the revolution, I wrote the painful story of the bearer, it was from a one-page story that I read in the policy letter.
Because I was very obsessed and I was trying to find and replace certain words in the dictionary.
And it became a very classic literary text and I directed the work
I did not want to play myself, then I saw that we did not find anyone for the role of the ruler, and the children told me to play this role yourself.
And because the TV also liked the text and it was a good performance, it was not broadcast among the tele-theaters, it was broadcast in the literature group.
The interrogator telethon enters in ’71
This was also approved and the producer called from the TV, I was a little familiar with the text and I read it again and saw that yes, I know the text
The interrogator enters. It was a play by Priestley, I was told it was approved, are you working? We want to record for Network2
I said why not, I started dividing the maps, took a copy and gave it to Jamileh Sheikhi.
I gave a copy to Fatemeh Motamedaria, Ali Omrani, Ahmad Aghalo, and Hamid Amjad, who had played the film Passengers, with an ellipse.
I met him from there and then I saw how good a writer he is
We gathered all these people with a very professional group and with very little money
That same year, Ms. Sheikhi and Ms. Fatemeh Motamedaria both won the Best Actress award.
We and the children of the theater went and worked kindly because these tele-theaters really do not have such a high salary.
But for the sake of theater, because it is theater and we practice and love it and it has beautiful meanings, especially in these Western theaters.
I directed and acted in this work and Mr. Azadan was the producer of the work, Massoud Forootan recorded this work very well.
One of the tele-theaters that I like very much and it is both a valuable story and a high quality work and I like my play very much.
And the other friends who were good actors anyway are Bernard Shaw rented houses
That Mohammad Rahmanian arranged it, it was me, it was Parviz Pourhosseini, it was Majid Mozaffari, it was Mahtab Nasirpour
I had the role of ….., first he told me to play the role of the father, I told him to read it, then I said no
When he came and we were talking about the roles, I said the role of the father is a very good role, I like it very much.
But this ….. is another thing, a very special charlatan who is a hard worker and works with this father
In the exploitation of the people who have this master, he has a valuable role to play in elevating himself.
And at any cost he was willing to sacrifice everything, all the principles and all the people to kill himself and his class, and it was a very strange role.
He also had two types of make-up, because later, when he kills himself, he becomes rich and they sit with their master and eat Pepsi.
He has tried to dress them, put on a bow tie and walk like them and put a cigar on his lips.
But he shows his nature in many places in his own tone, in the words he uses.
It was a very beautiful role that was written and I made it, and in the sound, I found a sound for it, this sound came little by itself.
And when they made me up, this person was made, the way he stood and walked, the way he spoke, everything came in and they liked it very much.
Robert Oppenheimer’s case was also worked on by Mahmoud Azizi, and Gholamreza Tabatabai was also the producer of this work.
There were some very good actors in me playing Oppenheimer
He was a scientist who is being tried in the United States for the atomic bomb and these things, and to show his defense.
But we did not have the opportunity to practice at all, the person who tried was Ali Omrani, Mr. Shangleh was playing and he was one of the judges.
Many different people played and were on the jury, and many guest actors came and went.
For example, it was Mehdi Soltani and I first met him there, Nasser Aghaei Aziz and Fath Ali Oveisi
Each of them came as a witness, one day working, testifying either for me or against me.
There was a work called Mustantaq that was translated, Inspector General, which is one of the good works that Rahmanian rewrote.
Mehdi Hashemi and I were playing and many friends were there
There is a lot of humor in the inspector and they laugh, I remember that I may have seen this in the past, a long time ago
Mr. Nasiri and Entezami played it, Mr. Entezami worked, one of the roles that Mehdi played, Mr. Entezami played
One of the roles I played was played by Mr. Nasirian, who also directed the work.
And people would die laughing at all, they would both understand and see this corruption, and then they would realize that this inspector was a fake at all.
One even offers him other offers, he even offers his family for the position.
Nekrasov was also worked on by Rahmanian, who is for Sartre.
It was a very good, heavy and colorful work and it should be broadcast on TV many times, it is a very honorable work, as the famous saying goes
And what should we do that we are looking for luxury work? We have to go play it again or re-create it or continue the same tele-theater work.
These were the most valuable things that the radio and television did.
The theaters really had their own spectators. Even among the people, many sat and watched the theaters.
One day someone said they are very good and heavy, I did not understand but I liked it very much and I sat down until the end, believe me, this is what an old gentleman told me
They liked, they communicated, they were curious, that’s culture building
There were two works that were televised and broadcast together, I was in the last Godot playing the role of Godot
Bahram Shahmohammadlou also played the role of the author Beckett, it was a two-person TV work
It was all about the theater, which kicked Godou out of the theater
We practiced and recorded the work, and it was about the sufferings of the theater
Thinking madmen like Alireza Koushak Jalali Aziz, the great director of Iranian and German theater, worked in1990
I think about50-60 short comic works were very modern, this work was also recorded with3 cameras and it was a good experience to work with the dear Jalali pavilion.
We tried to Iranianize it, because some of the humor was very modern and contemporary and very bitter and black.
Kushk Jalali used to say that it is not understandable to the general public and we tried very hard to make it a little lighter.
Freedom returns to its homeland is one of the plays written by Saeed Poursamimi
So we recited for the earthquake victims of Azerbaijan, of course it was performed for2 nights, but one night they gave it the next reading.
Third-party publishers also left their books, I think it was third-party, that they bought with great effort and helped, and good money was raised.
The characters of this play are in a museum, the Statue of Liberty escaped from America and came to the museum
There is a statue of the thoughtful man Rodin, a beautiful statue of Venus with broken arms by Michelangelo
The thoughtful man speaks in terms of knowledge, the Statue of Liberty speaks of freedom, and Venus speaks of beauty and love.
Freedom has escaped and come, now here it finds both the experience of thinking and the experience of love
And in the last scene, they see that the shadow of the Statue of Liberty has fallen and they are taking it back to New York while they are on the ship.
Part 08
I had3 cases of cooperation with the Center for the Intellectual Development of Children, I do not know how, but in one of the connections, they understood that I needed a job or was unemployed and I was introduced.
I did2 works with Mohammad Reza Aslani, it was a shadow and white film, it was a very strong film in my opinion
There was another film made by Mr. Aslani called Permission, in which I also acted
In one, I also played two sequences, maybe the first visual work I did
Once, when Kiarostami was alive, he was making his first film called Bread and Alley. I went there and he saw me.
And I said I’m a student, he said, well, I went to the same school, but I did not remember
Later, he saw me several times in the center and because of the two films that Mr. Mohammad Reza Aslani made and knew about me.
He talked to me about a movie that I should go and do his production work.
It was a short black-and-white film starring Sirus Hassanpour, who is currently directing.
He was a child that I used to follow in the car of Kanoon and take him from Shahr-e Ziba to the location of filming.
After the revolution, I did several things, and well, the same Tara guerrilla film, which was my first film, was supposed to be released.
Which was not released after the revolution, but several colleges showed it to children because it was a valuable work by Mr. Bahram Beizai
And it was my first experience and I had a good start in cinema
I was in my third or fourth year of university when Mr. Beizaii told me that there was a film I wanted to make
It was his second or third film, well, God willing, I said Mr. Beizai’s eyes
We had just gone to the center at that time and we had come out after the center and we had gone to TV through the live memory of Mr. Davood Rashidi.
I said just do me a favor and talk to Mr. Rashidi and get my permission
One day we went to Davood, he talked to Davood and he said that there is no problem, Reza should play and he is fine, then he should come back and continue working here.
And we went north and together with Manouchehr Farid, Susan Taslimi, Zande Yad Mahin Deihim, Mr. Pourstar, Reza Fayazi and Siamak Atlasi, we started filming and acting.
Which lasted about a month and a half, two months, and it was before the revolution, and some cities were crowded, and there were demonstrations, the news of which reached there.
Beizai was unique, working with that group was unique at all, we did everything there, Beizai himself did everything
That is, we were not just actors, Mr. Beizai was not just a director and a screenwriter
Really, this love has always been in our work, we feel alive when we are creating work or presenting work, we feel life.
And so if there is an obstacle to our work, it is an obstacle to our lives, our whole life has been in those moments when we were happy.
These joys when one can not work, can not go on stage, can not be in a movie, well we always sat down and expressed our wishes
For the trip, Mr. Davoodi had written a beautiful script that Parviz and Golchehreh Sajjadieh and I were going to play, but then Mr. Arjomand was added to us.
I think it was a good film, it was Mr. Davoodi’s first work, they just did an interesting thing
The whole front of the cinema was my picture, but there was no news of my name, they forgot to write my name on those posters and placards.
I was told on TV not to work and not to be there anymore because we were official employees on TV
We have prepared a series of old stories with mystical dimensions in30 episodes for the month of Ramadan.
I had seen several playwrights, I wrote2 of them myself, one was written by Nasser Hashemi, one was written by Ms. ….. which was a very good text
Many times these letters came that you are surplus and introduce yourself to the administrative affairs
I had gone to work in the mirror with the Islamic education group and I was in that group
They were embarrassed to give me the letter, one day one of the employees finally gave it to me with embarrassment and I read it and did not go to TV the next morning
I did not go to TV and stayed home, a week later, one gets depressed again, because I had written, directed and acted for TV since I was a student.
A friend called me called Kazem Baluchi, he wanted to make a movie and he came to me
He came to my house and we talked and and I agreed and we signed a contract, then I calculated that this salary is equal to my one year salary on TV, which I work for45 days, I said thank God
How was Reyhaneh’s film with Mr. Raisian?
Reyhaneh also did a great job and was a good role, however she had different good roles and I had tried to work that character very delicately.
He was nominated that year, but that year there were big films nominated and actors who played very prominent roles that year.
It was like the movie of Ali Hatami’s living mother, in which Abdi was a little brother who was backward and unique, both Abdi and Grim Eskandari’s acting were unique, it was Mr. Aghalo that year
There were three or four of us who were nominated for Abdi’s prize because it was his right.
What about Cambodian singing cats?
Yeah Al that sounds pretty crap to me, Looks like BT aint for me either.
The work was dubbed later, instead of cats and dolls, Nozari speaks live, which was very sweet. I think it is a good work and the children still love it.
The children’s film “Water and Flower” was written by Mr. Ataullah Hayati and directed by him.
We were supposed to go to Kermanshah to do the work and in any case we have that accent that we went there for a long time and the friends of Kermanshah helped us to say the dialogues.
It was not a bad movie, I was one of those villagers, Ms. Zandiyad Homa Rousta, these were also great women who we said you are our Avestan woman
Because he was the wife of our dear master Samandarian and we were in his service and a great man named Ahmad Aghaloo who was really a great actor and an honorable and great man.
Many films were not successful because the story had some flaws that had to be fixed, and he, although a good cinematographer, had no directing experience.
The film was Sunny Man for the year1974, Homayoun Asadian called me and they gave me the script and I read it.
It was a matter of immigration, and to go to work in other countries, it was fashionable at a time when going to Japan and getting good money.
And the Iranians did certain things and collected money and came to be able to buy a shop or a car here, start a business anyway and become their capital.
The story revolved around the migration of these people who also told me that part of the film had to take place in Japan, so because it required a lot of money, we went to Singapore instead of Japan.
Anyway, we got a part of it in Iran, the interior was dear Ms. Motamed Aria and
We had a lot of fun in the service of him and Hamid Jeblai and Akbar Abdi and Gholam Hossein Lotfi, Aziz Saati was also our cameraman.
It was a good movie, it was successful, people liked it and it was screened many times, and I think that Sada-e Azadi also bought and showed it.
What year was it?
It was 74, yes 74, I was a child, can I tell you about my childhood now?
How was working with Hossein Ali Lialestani?
The sufferings of another poor lover, his way of thinking and working had a special format, another, he had a special point of view, sometimes he was tempted by these thoughts and his writings.
In this film, there were Parviz Pourhosseini and Almasi, anyway, it was something they wanted to do and they talked to me about the role of a teacher and I went and played
I remember starting a scene with a dialogue from a play and shouting that art should serve the people, art should be like this.
That year, I saw that they used this to promote the Fajr Festival and started with this
They called me purple again and said like this, I said send me the text because they had been working on the film for a while.
I read and saw that my role is very small but very good, very short and only3 minutes
I thought to myself for a moment and said, “Okay, let’s go and make an appointment and go north, Firoozkooh.”
They made up and practiced, I got there and I regretted why I accepted this, what can I do now in3 minutes
Suddenly I talked to Habib Rezaei who was there and said, “Habib, I was scared, he saw that I was very upset.”
, We talked a lot and walked and these
One day he took the film, however, Mr. Hatamikia’s form of work is that he used to take films with a hand-held camera to determine the plans.
I read a lot of text to be able to understand this person, however, something seemed to pass through me and I made my decision for this character.
Mr. Hatami was right, really, for example, the beginning of the film is just my dull face in the window
It is clear from behind me that I am making a rosary from behind and then I come back and it beats on my face
They loved it so much, many say they still remember it as a golden cinematic sequence
Because they had not seen me on that board, they mostly saw me as a character like Asad Khomarloo, a beautiful hairdresser.
Or the characters that I was in the movie Mirror, for example, is that this character is suddenly180 degrees different
And it’s a different character and it has a different look and a different thing going on inside it. Well, it was interesting for a lot of people.
The invitation, which was an episode, was5 episodes, which also had an episode in which Gohar Kheirandish and I played together, and this was one of the best of those5 stories.
You also did a home network work in1993 called Uncle John Hitler
I think they gave me a story3 years ago and I liked it, anyway the story was very good and they were good actors.
But a bit of work was done in a hurry, anyway, it was me, it was a benevolent gem and it was Nasser Hashemi and Mahmoud Jafari
It had gathered a lot of professional and good actors
There is a large park between2 people who each have their own groups and the management of this park is a dispute.
And it’s a joke, everyone has gathered a bunch of people for themselves, one of them is Uncle John Hitler, those people call him Uncle John Hitler that I played
The other person, who was, for example, my brother, was played by Nasser Hashemi, whom I named a dictatorship in one or two places.
Because he said Hitler so-and-so, Uncle John Hitler, because I was a disciplined person and I wanted to tidy up the park.
But that person was doing something else and doing other things to get the management of that park to accept it, it was such a struggle and it was not broadcast for a few years and it was broadcast all of a sudden and very quietly.
African violet should be screened these days, mid-November, late November
It was a very beautiful story that I was given and read, Ms. Mona Zandi was the director and Mr. Shoja Nouri was the producer.
I read and I liked it very much, I said yes and I will come, I have not worked for a long time and I will not work but I will come
I called Motamed Aria and coordinated, she also said that they had read the text and it was good
It was a love triangle, I said who is that other person? Saeed Aga Khani said and I said who is better than Saeed
It was a very good team, Farhad Saba also came from Canada to film and we went north
We found an old house there in Amol and made this film. I saw the film twice at the Iran International Film Festival.
The film is a very beautiful film, a very subtle film, and it is poetic, romantic and well-illustrated
It was the first time in forty years that I did a job and saw that we do not kick.
We are a group of artists who are going to work and we are not disrespected and everything goes smoothly
Part 09
All my pre-revolutionary work was child and adolescent work, tele-theaters and series for elementary school children.
Home Game was a25-26 episode series that I made and taught the little concepts to the kids.
And the texts of this came from the Persian language and were translated and then they gave it to me and I translated it into Iranian.
It had a series of short animations that worked for a few seconds
Bahram Shahmohammadlou and a woman named Bassem Mitra Fathi were the actors of this series
I was a director and a writer and in some episodes I came as a guest actor.
With theater, with music, with singing, with crafts, with rhythm and with movements, they said one or two concepts at a time.
Everything served that concept × For example, the concept of night and day, it was for elementary school children
The first series I played on TV was Sultan Sahebqaran, I was introduced by Mr. Rashidi to Ali Khodabiamerz
One day I went to his office and saw that it was on top of each other with a beautiful calligraphy written by Ali Hatami, in the form of the same signature that he was making.
He said that we want to start a series, later I found out that Ms. Ehteram Boroumand had also talked to her.
It was exactly when we came out of Kanoonbir and we were unemployed. Mr. Rashidi and Ms. Boroumand probably talked to Ali to ask me to work for him.
He also gave me an advance, now I do not know if I was ordered to give him an advance
He said that the truth is a role, but I still doubt you, well, I was not that face and he had not seen me play in the theater.
It was the first time that I played with Mr. Morteza Ahmadi’s memory, and later we did some long work together on TV.
He gave the role of Milijak to Fanizadeh, who was one of my good role models
Saeed Poursamimi, Fanizadeh, if I really want to name them, there are many, for example, Khosro Shakibaei, I have to say and say and say
For example, I would go and see Mr. Keshavarz on stage and I would learn everything from them, I would go and see Mr. Nasirian
I would go and see what Mr. Javanmard does, for example, what he does with his hands now, what he does with his voice.
And because I had a history of imitating the voices of radio people, I tried to play the same in many places.
I remember that Dr. Kowsar used to say in many places that you should not be disciplined, you should not be disciplined, be yourself, be yourself
Or I was subconsciously influenced by the dialect of the police officer or others.
Golbaran, which was released in1957, I researched for the same Golbaran in general, especially the living works of Anju Shirazi, who had worked a lot in the field of folk culture and folklore.
For example, about winter, about the cold of the old woman, about Uncle Nowruz, about Ahman and Bahman, small and large
These were researched and we worked on them and used them as characters that came into our plays or the series that we wanted to make for television.
And we either did this research ourselves or in any case we got help from the children of the People’s Culture Group, and this Golbaran series was one of those things.
Anyway, the characters that start in winter and end in spring and Nowruz and Amunoruz, there were3 parts of the work.
We recorded this work in the studio there and collaborated with professional actors
We had an old woman who was playing Marzieh Boroumand, there was an ice palace in an ice cave and she had a lot of people and agents
Storms, storms, blizzards, all of these were characters, it was the owl that brought him the news.
And he heard that Amunoruz is coming and if the weather is like this, spring will come and he has to pack up and go.
Amunoruz is also accompanied by seven girls with seven colors who performed rhythmic movements. They were a group that performed dance and group movements.
Of course, the girls take the colors and imprison the colors in the palace, they break the instrument of Amunoruz
Uncle Norouz is wounded and escapes and they can not catch him, and somehow somehow release the captive girls by the nightingale and the horse and these
Because they could not erase their colors either, because the cold girl could not see the color and everything had to be colorless.
They could not erase the colors, The big ones we had made were made of these old colors
They are supposed to blacken everyone with a black pencil, and storms, storms and blizzards are coming with big pencils to start
Then the nightingale and these would come and fight, they would play fencing, and they would sing a nightingale song and it would end.
It was broadcast in3 episodes on the first, second and third of Farvardin57 and under the name of Golbaran
We tried a lot to work in television after the revolution, we planned and we succeeded, but we did not succeed
I wanted to work in the field of children and adolescents, but every time we came up with a plan, they said we have a plan.
There were a few men and women sitting there and they were writing or the work was being divided among themselves, meaning I did not see any writers from outside.
Then they approved a plan that said this is it, if you want to build this, that plan is not your priority.
We heard a lot of this word is not a priority, anyway it was a plan that I saw written by Ali Talebi
There was no plan, of course, and it was written in full, so I took this and made a small change, which was recorded in the studio anyway, and there were also scenes that worked outside the studio.
There were 7 episodes of the story of some children that was to be broadcast on the first of October and for 7 days
One of the children was afraid to go to school and had problems with his grandparents and parents, who, with the help of his grandfather, tried not to be afraid of school.
The Mirror, which had been made before and I was not there, was directed by Mr. Gholam Hossein Lotfi
And different people wrote, for example, Ahmad Behbahani wrote live, and there were other friends who wrote
They made another series that was more like a tele-theater, I was going to do one or two
But then I said that I am by your side and I helped and played different roles for them
Some of the stories were also very good.
It was Golchin’s memory, one of the sisters who was lost, everyone is alive, Javad Khodadadi’s memory was alive
The previous series was played by our dear Ferdows Kaviani, but I played this series, I do not know the number, but some of its stories were very good and beautiful.
I have a lot of bittersweet memories, work was going on, we were rehearsing beautifully, Massoud Forootan was recording
We used to record with3 cameras,3 cameras have the advantage that it works when used, because there are other cameras as well.
They can capture and bring to life the various reactions and reactions of other characters in the story.
It was that Massoud Forootan would take the film and he would do it well, we would rehearse and place it and after 7-8 rehearsal sessions we would record it.
Unfortunately, I did not succeed in my efforts to get the children to work
Anyway, Ms. Marzieh Boroumand stepped forward and somehow was able to prove herself.
Anyway, we were a good team and we were all around each other, but Marzieh was persistent
See if I can say something, I do not forget to open a parenthesis, see, we want to go and do a work of art with all the subtleties and thoughts in that work
And so we want to do his work, prepare him, get his license.
So why did I not plan on TV anymore? Why didn’t I do that?
Because you thought you wanted to go and do a great battle
He has to wear a war suit, put on his hat, tighten his armor because he wants to go and get a license.
We did not want to go and fight, we wanted to go and get a license and do something for these people
It was that Ms. Boroumand showed perseverance anyway and was able to approve a puppet work.
The work was written alive by Ahmad Behbahani in the name of the grandmother’s house, and in any case we gathered around Marzieh and carried it out.
There were a group of puppet masters that we also practiced and instead of puppets we talked and did dubbing.
I was talking instead of a fawn rooster, and instead of a crow, there was a crow that was a supporting role, and instead I was talking.
The children were everywhere and it went very well, for example, Ms. Motamed Aria called the chicken
Grandmother was called Mrs. Mofid, Mrs. Azadeh Pourmokhtar Noksia
He was saying that Hormoz was guiding Hapokumar
There was a very, very strong team that worked, worked, and that’s why it has survived, and they still say
And really, the families that I see, the children that I see, because it has been broadcast in different periods and probably a CD of it is also in the market.
I see different generations who love it and have connected with it
And we, too, have tried to give the laundered work of delivering these people, and it is a lasting work for years and maybe very far away.
One day I was walking through the back of Channel2 and I saw Marzieh calling me from the window above and telling her to come up.
I went upstairs and saw that he was sitting with a woman, she was a TV producer for Channel2 named Ms. Mousavi.
He said that we are thinking of giving a serial plan, Mr. Organi is here and they said give us a plan to see what we do.
Let’s sit down and see if we can tell a story, we sat there for2-3 hours and got into a fight.
What can we do, now this is an employee, now his wife is like this, no, he does not have a wife, he is a photographer at all
We owed so much together and took notes until we got to a hairdresser
We reached a hairdresser and decided that this woman would not be good and that he would be an old man whose courtship adventures create both humor and tension.
And the barber shop itself is a place where people go and we can have beautiful comic stories that are very social.
We continued our meetings and talked a lot to make the story more complete until we came up with a really good story.
I remember that one of the characters we reached was the role of a carpet seller, from which Marzieh said from above that Mr. Ahmadi was walking in the yard and called him to come up.
We informed Morteza Ahmadi’s memory of his life and said that this is the case and that he is always happy and I am happy.
The story came to an end and it was decided that Mr. Behbahani would write the general parts and Rasoul Najafian would write many of his stories for the hairdresser.
Many of the stories were about what happened in the barber shop, sometimes we improvised and came up with something.
And the author would write it later, we would give the subject or he would come and see us, and he would write based on what we improvised.
I also remember an example of a scene where Iraj Tahmasb is arrested and turned over as a criminal.
And they were going to cut her hair and open the crossroads, we improvised it because we did not have the story.
What can we do, now you come and … it was made, we would say and anyway, some friends would take notes.
And these scenes came and went, and Marzieh herself sometimes retouched them
It was clear from the beginning that I was going to play the role of Asad Khomarloo, who was a hairdresser
Now we were thinking about the role of parents and we talked to Mr. Rashidi and to Ms. Sheikhi
I do not know what happened to Mr. Rashidi, he was supposed to go to the movie or something else and he did not come and we remembered Mr. Kasbian’s life and said that he is the best man in Kasbian.
Because really, I always told her that a ball of salt and her parents were supposed to be dear to Mr. Kasbian and Ms. Pari Amir Hamzeh.
Little by little other friends came and this team was formed and many other friends also came
I remember that in the life of Roghayeh Chehreh Azad, this lady was really a stepmother, that is, when she came and sat there, everything happened.
For example, we used to say, “Ms. Chehreh Azad”, now we take the courtship scene like this, but we do not have anyone for the role of aunt.
He said take Mahin’s phone, we would take Ms. Dehim and he would say get up Mahin, come here, I have a card
And all of them came and said, many prominent actors came there and played the roles of a part and left.
And for me it was a lot of lessons and then I saw how really old this man, these veterans of ours are, what experiences they have, how good they are.
How comfortable they are, how easy it is to say dialogue, how easy it is to make and say dialogue, how easy it is to pull their kilims out of the water
For me, it was a great lesson and an honor, and it was an honor for our country anyway, and
People still love him and I and many others say that it’s an effect
Because I think this is forever and people can still relate to it.
Part 10
We made primroses in1970, Kambozia Partovi had written it and we were going to work in the north.
Ali Talebi made and directed it, and its producer was Mr. Ali Talebi himself
It was Ms. Motamed Aria, the living was the memory of Davood Rashidi, it was me and a group of other friends
The series turned out very well, the story is very similar to Basho, he is a little stranger, maybe his initial thought was the same
I was also the person who came back from the front and had a problem, but life starts well.
And another child had taken refuge in them from the south because of the war, which we also accepted and worked on.
The work became an interesting work, it was broadcast several times and was very well received, both its music and its story and trend.
The only big problem was that the producer did not give me some of my money
The first job of Ramadan was when Mr. Hassan Fathi worked under the name of Atefeh. When he gave me that job, he told me to play the role of this father.
There was a father who was so horrible and so negative that he showed up until his death and died on his deathbed and got a disease that he could no longer speak.
I played with Ms. Khorvash, as the saying goes, listen to her wherever she is, who have always been one of my ideal actors.
They have been good actors since I saw their work as a teenager and I was one of their admirers.
She was very good both on stage and as a female character
She also played the role of my wife and we have youthful scenes with Ms. Khorvash
Later, when he and his wife saw me, their wife praised me a lot and said that you played well and it was a very difficult role.
Negative maps are good, these are in the man and the man has to express a little, we have to empty ourselves like this
Because we cover our idiots and do not let them come out and people think that a person is good.
They do not know what a well-written and empty snake this Reza Babak is.
He says to this turbulent world, a little kindness may be an ointment, and love, love, treatment of his incurable pain, will fall, sorry that I also committed poetry.
Tales of Tabatha or Zi Zi Gulu Asi Pasi was a doll with a big ear and a small ear.
It was a good story that comes from the imagination of a writer, a couple is writing a story
And they want to create a doll, and that comes out of their imagination, and then it finds a physical presence, and its adventures begin.
I think it was a very beautiful story, the kids still love it because a few times I went to a party and saw that the little kids of Sidi left it and paid attention to it and communicated.
There were a number of different characters who entered the story, such as a municipal worker or a postman
Either he was a horned man or a gentleman or a pimp, 7-8 or maybe10 characters
I suggested to Marzieh that I let her play all this with different make-up
He also thought a little and said what a good idea, let’s do this, we had hard makeup for each of them
Suddenly I remember that I had to be a 90-100 year old person, Ms. Maghsoudloo and I were an old couple that this doll came out of.
It was that I played those guest roles all over me and I was not the only one or I did not have the opportunity to remember Ismail Khani and play the role of a thief in one of those episodes.
In1974, I worked on a series called The House of Love, and Hossein Pakdel called me
It was a beautiful story, but he had a small look at the beautiful hairdresser
There was a man who was a tailor and had different adventures, of course his adventures continued and the story did not come into the story.
I was in the service of Morteza Khan Ahmadi’s living, we were2 friends, I remember that there is a scene that Mr. Ahmadi was supposed to sing and we sang together
She was in the service of Ms. Shahla Riahi and I did two of her works. She was very lively and a professional poet. She wrote a lot of poetry and always sang outside the stage.
I worked as a partner with many of these old men and women, now either they were getting old and I was getting married to them.
I got married a lot in the stories and I think I had the most artistic marriages, in the stories of course
Interestingly, one day a gentleman on the street said that you play with different women, your wife will not be upset
I said all these ladies are our colleagues and we are family friends, their husbands are my friends
In our story, for example, we may be a mother and a son or a couple. 7 No, there is no problem and you should not worry at all.
Hello, Masoud Shahmohammadi had worked his life, he was a very cheerful young man
Different stories I worked with her, I remember it was a story, for example, that I was with Ms. Maryam Saadat and it was beautiful
It was a family affair, and it dealt with social and family problems, and I liked it.
Tehran11, which had a story in each episode, but it was the story of a car that was handed over
And he had a story and Ms. Boroumand gave it to me and I saw how good it was and I said who are they? They told me to tell Ms. Soraya Ghasemi to come
It takes on the role of his second wife and it changes the whole life of this man, for example, he empties his libraries and arranges Chinese dolls and changes the decor.
Or the mother’s handmade tablecloth picks up this character and throws something ordinary colorful
And then they buy a car, and in any case, this story starts from the same car, and when they buy a car, he does not know how to drive, and he asks his son-in-law to go stealthily and teach him.
That learning and driving training and crashing and these adventures were comics had a good sense of humor.
And it had a beautiful ending, which was one of those stories inside Tehran11
Fresh Air was the year1975 and it was the first series. Mr. Rahmanian wanted to make it and named it Fresh Air.
Merila Zarei’s first appearance was at work and she played the role of my daughter, Radesh also came and was present at that work.
It was a sweet work and it had its own humor, I don’t think it was a bad thing, it was the first serial work that Mr. Rahmanian did that I was present at.
Nowruz stories?
Yes, it was a series of stories that I worked on2 of which Marzieh was also going to direct, Massoud Keramati was also directing and Eid was going to be broadcast.
I worked with Massoud Keramati and it was a beautiful story and Eid was broadcast for several years.
Our house was a series that was a family and after a beautiful hairdresser, it was very successful, especially among children and teenagers and families.
It was not a job for children and teenagers, but because it had child and teen characters, and they were involved in the story and had their own stories.
He was very lucky and the people who see him still love him and the work has been broadcast many times
Gohar was a philanthropist and I was in a house, this house of ours used to happen and every time it had a story
The stories were very diverse, they were very successful and Massoud Keramati did a very good job and Shapur Pouramin filmed very well and their hands did not really hurt.
With Kianoosh Ayari in strange times
I worked with Mr. Ayari, yes, he had been working in strange times for some time with Mehdi Hashemi
Then they came to the part where he was friends with Dr. Gharib, a living engineer, anyway, and they had a family affair together.
Anyway, they thought of a few people and one of them was me, I went and did different make-up and a lot of make-up lasted
Because he also has a strange obsession and how well he knows his job and what a strange character Kianoosh is and what a unique mentality he has.
We went and put on some make-up, they made a nose for me and put lenses on it, and in any case, it was Mr. Bazargan from another way.
From the farther and farther away, where Mr. Bazargan was, the scene began in such a way that the patient, Dr. Gharib, and his entourage, who were over there, were sick.
It is said that it is as if Mr. Bazargan is coming and then he is shooting.
One or two people told me that I hated them at all and cried, I thought they were really commercial engineers
I said give me the text, now in this scene I am coming with Mehdi and what should I say, I could see that everyone was laughing
Finally, Kianoosh came and said that you are coming well and that you are making a fuss
I said should we take Mahdi? Mehdi said yes, let’s see what happens and we really came and I think it was very good
Everyone was silent and we took the stage and improvised, I improvised and Mehdi answered,
I was saying something to his wife
I would put the flower on the ground and they would catch it, Mr. Ayari said it was very good, I did not want it like this, so we will catch it one more time
And they took it one more time, they took that scene twice
Did not have a scenario?
No no no, it’s all here
There was also a work called Open Brackets that Mr. Poorahmad did, part of which I did
He said what accent do you like to speak, I said because I have experience in Qazvin and my aunts were in Qazvin and I went to Qazvin a lot.
My grandmother speaks both good Turkish and Qazvini, I know and I spoke a character in Qazvini’s style in open parenthesis
Part 11
The path of mental transformation and intellectual maturity
Anyway, I was born into a religious family, and I have always had and still have religious tendencies.
Before military service and in high school, sometimes when I bought a magazine, one of them was the school of Islam.
It had a critical dimension, and now these magazines, whether they are religious or intellectually non-religious, such as Khosheh and Book of the Week, etc.
They influenced us anyway, in families that were traditional, like the living memory of my parents, but sometimes you saw forms of modernism in them.
My father reads a book that is100% religious, then he comes and reads illustrated Tehran, and then he sits down and reads Tawfiq and you laugh.
This tendency of religion and the tendency of seeking justice has always been with us, and when you go to university and university with an open environment, those are the years47-48.
We were working at an art university, the best professors of the last few centuries were teaching us there.
Anyway, our blood environment was good, it was a closed environment, and I came to the university, which was open, and the boy and the girl were together and we were friends.
We went to the movies together, we went together and we sat in restaurants, we went to coffee shops, we went to the theater together.
Our teacher practiced with all of us in a mixed way, we went to the center, I really liked the center’s books and his child’s stories.
We read the little black fish, we read the truth and the wise man of the ellipse at the very beginning of our university
We got acquainted with those books, we read Nader Ebrahimi’s books, Sirus Tahabaz, then those first-rate people who were elsewhere
At that time, the giants, who are said to have been in the center, had attracted the center of the best
For example, Mr. Kiarostami is making a living film, well, Mr. Aslani, come and make a film, well, Mr. Kimiaei, come and make a film for us.
Mr. Shapoor Gharib, come and make a film for us, this one and that one, then you will come and see
What films for children and adolescents are made in a period that are presented in festivals?
Painting experiences
I did not play well for another period after the revolution and the possibility of working was very low or I did not like to be present in some jobs.
It was that I did not know how to evacuate myself, I had a crayon pencil at home and some watercolors
I started something like this and without knowing the alphabet of painting, I dared our great painters.
And I painted on the cards I had and I do not know where these cards came from and were in my belongings.
I painted a series on these small and medium-sized cards, I try to show my feelings there somehow
Maybe one thing that is in my subconscious, I even put on an exhibition and it was very well received and liked.
It is said that at an age when a person gives up his main job and does another job in a different way, he becomes younger and for this I feel very young and lively.
I also came to the realm of painting and apologized to our great painters who accepted me to join them anyway.
Music experiences
Well, as a kid, we did not have music, that is, we did not have musical instruments, I was very interested and I made the instrument myself several times.
Twice I made a tonbak, that is, I pierced the little pot I found with great care so that it would not break.
Then one day, if a sheep was sacrificed and its skin was cut off, my mother told me that you put this skin under your feet so much.
And you move it with your feet so much that this skin becomes a little too thin, and then we stick this skin with that head and glue and thread on that pot.
And I made and played the tonbak, and I learned a little bit that if I needed time in the theater, I could learn the sound myself as much as I could.
Once or twice I made a dulcimer, that is, at that time I cut it with a plywood board and a saw, and I took the electrical wires out of its skin and stripped it.
And I would put something on this box that I had made and I would tie these to the nails that I had driven around it.
And I tightened it and then I played the dulcimer with2 pencils
I do not take much of a particular side when it comes to music, I really like Iranian music
I listen to folk music, I listen to classical, even the music of nations
I listen to Khatlaf even if it is with sound, like Azerbaijani music, you made music
The music of the Khorasan region, those dotar musicians and those lovers, Master Osman who recently passed away
Or Master Sharifzadeh, who were first-rate singers in the Khorasan region, I am very interested in these
I like the music of the desert areas, those cries and moans and the sadness that is in that sound attract me
In any case, it is one of the arts that is really man-made
Interest in your works
The theater is in the form that it is alive on the stage anyway, and we are with the spectator one by one, and one sees that it is alive.
Sees and feels reactions, hears the sound of laughter
He may even see in the dark that someone is wiping his tears, well, all this was interesting to me, the stage work was interesting to me
But well, the TV had more range, especially when we worked harder. For example,30 million people sat down overnight and watched the program.
We who worked with love and tried to deliver healthy work was that several good works connected more with the audience.
One was the beautiful hairdresser that people still love and it is regularly broadcast on various channels
That is, if every channel would broadcast this once and what do I know, for example, it would give us a thousand tomans, we would not have financial problems anymore.
I said on the radio and television that if you broadcast all this, give something to these friends or do something.
He said no, it’s our job and why should we pay, I said let’s do something else now, at least to those who are very old or have died
For example, when there is work to be played, buy a gift and take their blood and give it to his wife and children, who have suffered so much that they have gone to work and everyone is left alone, and he has been at work until4 in the morning.
The result of works of art for the artist
What did theatrical and cinematic activities do for us?
This was our job, this was our job and this was our love, we are in that space, it is our job and our job that we start living
And we realize our lives and we realize that we are alive
We at work and when we create a work and when we play a character, we realize and see that this is our real life.
We are here to expose our reality
See when someone is looking for an actor, for me it was like this, see, well, I played a lot of roles and I created and acted a lot of moments and scenes.
Many of them were far from me, they told me that you could not suffocate this person
I have a scene where, for example, I grab someone by the throat and I’m strangling him, that character was like that there.
There was a place where, for example, I shouted, I shouted, I protested, there was a place where I was ashamed, for example.
Many of these were in me, many of them could not be manifested in me, and now in that role of mine, what is hidden in the depths of my being and conscience
I strengthen so much in practice and I express this anger, I express this ugliness
Here I am lying, telling this lie, it may be hard for me to lie in normal life
But I might see in a character how much he lies like drinking water, the character is like this
These experiences are very humane and have been beautiful moments in our lives for us
The biggest artistic conflict
If they want to give me a reward, now I do not know, for example, to encourage me, it must be because of how much you endured and could not do the things you loved.
You could play the roles you wanted, but it was never possible
You once wanted to play Hamlet, but now you can not at this age
Unless you come and make another impression, say that now Hamlet is not dead, Hamlet is old.
Now let’s see what to do with an aging hamlet, it’s a matter of course
For a long time I was talking to our friends, what are we going to do? We used to say that now we have something to do, now Kachi is better than nothing
Why should Kachi be better than nothing, we should do the ideal job when we have the ability
And a permanent person should be according to the tastes of others who have tastes
They have a low, lower your taste because you have to live your life anyway because you do not know other work
Future work plans
A friend of ours named Hormoz Hedayat tells me, Reza Project, we all sit down and say that this can be done.
It can be done, it can be done in the field of documentaries, now it can be done in the theater,
It can be done for young children, it can be done for teenagers
We can set up festivals for children to come at a reasonable price, as we did in the early days of the revolution throughout the city’s student park and theater.
And we were not supposed to get money, we did not think we should get money at all, we thought we should do it anymore
I mean, we were very revolutionary. The revolution is that you do not take a step in the field of the culture of those people and have no vision
Now they paid that they gave, if you got something that came, it did not come.
We still think this way and in our work and in our presence or in the play we choose, the story we choose
We try to raise these human issues in it and it can raise people’s awareness
We can make good role models, say this is a bad role model and this is a good role model.
This is the end and the end, now in the form of a story, he knows this as a screenwriter or playwright.
Anyway, our intention was good and as far as we were concerned, so our life is in our work and it is not right to take human life from it.
Status of artwork for children
See, for example,4-5 percent of the work is good, the rest is poor and handy
One of the problems is that the pattern of these is the work of the child on TV, the pattern is there
This is how they treat me and I see them saying that the children should say hello, my dear, what is this greeting, the children also know how to swear.
These kids know a lot more, the TV turns on, and for a moment these kids see what’s going on in Syria, they understand what displacement means.
The kids at the time were smart too, just like we did those theaters for them
It is that they take their own model from there, a series of typologies come from different places, one of them comes from the radio and television.
And they do not give funds to these children, you see, at that time they were making fun of us and saying that children work.
I was going to record TV work, they were really lowering my salary, and although I remember Mr. Rashidi, he came with me once or twice.
Because I did not know, he came to the director of Channel2, Ms. Mitra Khamenei, to find out how to do it.
He sat down because, for example, to estimate, I did not know how much to say, I remember that, for example, it was45,000 tomans that I had to record a squash.
I remember, or he came to Mr. Rashidi’s office, Davood told him to go around, madam, that is,50,000 tomans
Not that it was48,000 or45,000 tomans and he said that the eye was Davood Rashidi anyway and everyone kept his sanctity.
The reason for underemployment for children
Before the revolution, they did not seem to take it seriously, we also told them on TV, we later stood by it a lot.
Then the lady who was the director of Channel2 and came to TV and a few educated producers, did more work for the top and more prominent works for children and adolescents.
In Hamlet, the amount we agreed with Mr. Hossein Parsai was equal to what the adults do there.
I mean, he did not take my hand, he said you are also doing professional work
But the children’s section that exists now, they are not to blame either, now Ms. Parisa Moqtada, the director of the Art Hall, who is in charge of the children’s work, is interested and has good intentions.
He says nothing but says I can not, I can pay as much as I can and I can not come and a big job that spreads
And I can take different halls and go to the cities and go for1 year,2 years,3 years
I went to New York a few years ago and saw a lot of work there, first I saw free work in the parks, I saw Lear King
It was such a good performance, I saw2-3 works that Dam had written in them that it has been performed for10 years.
He wrote one that he is performing for15 years, they are performing well, the other is the spectator
Why do we stop working after30 performances, until the person is complete, until the audience gathers, it takes one or two weeks for the audience to come
Of course, for a good deed, a bad deed that is now nothing, a deed that the viewer likes must pass some time.
And it will be performed and from the third, fourth week, a new spectator will come and our salon will expire.
This is what happened to Hamlet, the thirtieth day ended and I could no longer because I did not have a team and I could not gather the kids.
Because they were each caught in a different place
Part 12
Visual status and artistic taste of the audience
We used to say we are the children of a decade, that decade
Some time after the revolution we say these are the sixties, then we say they are the seventies
Now that the decades have come closer together, it’s not like so many spectators and people, especially young people, are changing.
You see that in a family, a child who is2-3 years older than the next child has cultural differences.
Because everything is changing so fast that no one can force what to do.
We see that these things that sometimes happen now, whether in the field of cinema or in the field of theater or music
They are constantly trying to update to suit the taste of the young child who is very modern.
That’s why so many times we see that it has lost its content and is doing so only to appeal to certain generations.
Perhaps this is one of the reasons why the theater is empty of family
Generational differences
Different generations came and came in different circumstances, those who worked in ancient times, our veterans and our veterans
The situation was very different, well, the theater in Lalehzar is having a golden age
The great works there are brought by, for example, Noushin Khairkhah and Mohammad Ali Jafari and many others.
Many valuable works that came there on stage, had a good audience, had a regular audience
The audience did not have a slut, dressed in party clothes and went to the theater
We can not say that because it was in the past and we came to the future and today is the future, everything is evolving, no
A number of things have been destroyed and it has lost its good and beautiful form
Anyway, now that I’m looking at the kind of games I’ve seen in the past, the kind of games I’ve seen in the older generation
I see a lot of actors that I have today, both in the cinema and from these young kids
Well, you can see that it has changed a lot, it has changed a lot, that game has become exaggerated and very old-fashioned.
Which is still with us, especially with some actors, even in us, we could not move house yet and update ourselves
The artist has to update himself, to force things into a work that says I did it by force, this is not true at all in my opinion
You see it in many fields, in our own cinema, in many of our own theaters
Many people see this progress, you make a film from40 years ago and make a film of these young people today
We now see, for example, that we really have something to say in the world of cinema and theater
In everything, we have a word for the world and its people to do the work, it should only be a goodwill and a possibility and there should be no brakes.
There should be no barrier for these artists to be able to present their work
And do not waste so much time, do not waste so many lives and do not raise ages and energies
The difference between acting in theater and cinema
When we worked with Samandarian’s voice and speech practice, of course, we also did other things.
And they were amplifying our voice to reach that spectator and how we breathe, from the diaphragm and not from the throat.
Let’s not make noise and throw, our teachers gave us strange exercises.
If I whisper here, the person sitting in the back row, who may now be400-500, should hear it.
I whisper, now I go to many small halls to protest what the other whisper is, I do not understand the dialogue when the actor turns his back, he has to raise his voice when he turns his back
This is where the mediums are different, and those criteria and those things that in our theater are in the genre of play, in facial mimicry.
In the tonality of sound we have to observe in theater, in cinema we have to do all this in a very subtle way.
And let’s see what kind of image it is. There is a time when you are taken close-up.
If you pay attention to the early films after the revolution, because the children of the theater came to the cinema
Some people feel this and sees theatrical plays in the cinema, but little by little this has been corrected
And now you see a lot of these kids who are really masterpieces
In Iran you say Robert De Niro, alpacino, do you believe we have10 alpacino
We have20 Robert De Niro,50 Marlon Brando, these are not possible, be it a director, be it a text and be a character to give them
And play from these and we realize how many first-class people we have in acting and all disciplines
How to adapt in plays
Well, I remember those years when, for example, Mr. Nasirian and Entezami were working on Dr. Saedi, well, he was present himself.
He was in training, and if intrusion occurred, everyone would participate
And if he was going to make a change, he would be persuaded and then he would go and sit down that night and work on that text or make changes.
Once this is the case, there is a time when the author is not present at all or the text is translated or you get permission from the translator
The director can intervene in his own views and tastes
Now this kind of intrusion and occupation, one really wants to execute Hamlet in a hurry
Let him perform in the formats of the Iranian Rouhozi Theater and on a round stage
The television showed the image of a place where Hamlet was performing, in Persian and English, and they had gathered around the scene, the scene of Rohouzi
However, the director came to this conclusion and liked to make this new experience, new experiences should never be stopped.
First you have to deal with the author, now is the time to deal with the translator or get the work from the translator
Now the director has this option, he likes not to leave a scene or add a text to it, for example.
I remember seeing a work that was probably Polish and3-4 people played the role of Hamlet
First, everyone played Hamlet, everyone played King, everyone played Uncle, everyone played Ophelia and Mother.
The maps changed with a small element, meaning that whoever threw the plaque around his neck was now Hamlet.
All4 male actors played this role and different moments, and the audience accepted this.
And I remember in the last scene when Hamlet says his monologue, he says and shouts
A net was woven in front of the stage, and this Hamlet was saying the monologue and shouting, and he was taking this net and the rope and pulling it up.
One of the spectators got up, took out a gun with a Shapoo hat and fired.
And it would roll over and fall down there, he would have come to this conclusion otherwise Shakespeare’s time would not have been a gun.
Good comedy feature
Sometimes a comedy moves on the razor’s edge, it depends, now the text may not have that much capacity.
But in order to attract the audience, they rolled into the comedy that we more often call playfulness.
Take a look at some of the comedies or TV interludes on the radio and television
Many of them do not come close to that pure or semi-pure humor, it is found in a series of ordinary comedies and a series of chip characters.
They bring these and they throw them together, and they want to make the audience laugh by humiliating and making fun of each other.
Create comedy moments that I do not like and dislike, humor should both bring a smile and a thought.
Both then and later, when the viewer thinks about those moments, dialogues and scenes, he has to think.
I mean, not just laughing, not laughing, well we see in the great comedians of the world how much meaning there is behind their work
Well, the biggest of them are Charlie Chaplin or Buster Keaton, Woody Allen, for example, is doing a good job of humor.
One laughs, but what are the issues and worldviews behind that work, what world is behind the character that creates
We came very close to this issue in the beautiful hairdresser, we brought a lot of issues and problems of the society and people and different personalities and types of people into the hairdresser.
And well, in the sense of humor, people were really laughing, this comedy was not very watery and we were talking about a social issue.
Difference and equilibrium between The world of fantasy and reality
Basically, in our work, these two worlds, especially in cinema and theater, and now in painting, are many, and you can see this in other arts as well.
That we are immersed in these two worlds, this dream is always in man and we are in our work, in our writings
And in our performances we try to hug in this dimension and hug in that dimension, it depends on the work of art that we present and we are present in it.
How much it allows us to go into an imaginary and surreal world now
Or to be very realistic, a very real person whose movements are very real, this person is a very classic person
A lot of standing like that, moving the hand or looking like that, these are all different, these are good experiences.
We can not remove fantasy from art, the beautiful and heartwarming part of art is that part of fantasy
Now you see this in Hafez’s poetry, you see it in our poems, you see it in music, we see it in our paintings and our painters
And we see in art and cinema that it manifests and shows itself
And there is a beautiful dimension, especially when you go and work in the field of children and adolescents and for children.
The more you see, the more you should be able to update and navigate this section
The impact of cultural and artistic interaction with other countries
These comings and goings, the comings and goings of these groups, these encounters sometimes seem very constructive to me.
I remember that two Italians who were a couple brought a work called water for children
And just respect the water and be careful that the water does not drop a drop, with a series of games and a very simple story
Ever since the spectator came, they have been teaching this child, engaging the child that water is a very important thing.
And it’s vital and we have to respect it, we have to respect everything in nature
You teach and you see water as a living element, how important and how vital it is.
And how valuable and how life-giving and how beautiful
In this simple story with simple tools that poured a drop of water calmly that does not fall to the ground
I always looked to see the reaction of the children to this, he was really involved, even though he was not in Persian and he was Italian, but he involved the children himself.
If a work of art is a strong work, it does not need much language and we should not make the spectator lazy and we would be lazy.
In many places we made them lazy, we had to show them stronger work, that is, in addition to showing strong work
Let us teach him not to do anything and see
Part 13
Criticism in the field of art
Criticism of a work of art should open many different dimensions for that artist, on the work he is presenting.
Now it is a critique of a novel, a critique of a film or a critique of theater, when there is a critique of theater, it should be seen and seen from different aspects
Not to tell the story and say that the director was good or bad, the decor was mediocre, the games were not bad, so-and-so shone a little
This analysis of the work and the opening of the covered dimensions of the work by an experienced and very good critic can have a great impact on the works of art.
And cause the growth of the work of art and the growth of that artist
If I remember a famous Jamshid, I read good reviews about the cinema he wrote
It was Fereydoun Gilani who worked in a newspaper and wrote poetry, and I think his critiques were also good.
I remember one thing I was giving him music called The Wizards of Salem, probably
It seems that Shamloo had seen that work and had written a critique, a comprehensive critique of this performance and Arthur Miller’s play.
The effect of negative criticism
For the first time after a beautiful hairdressing break of2-3 years, a review was written in one of the most famous newspapers that is still popular.
That again some people gathered like this, like when they were writing, some people from God-news gathered and did something
I remember that there was a lot of criticism, of course it was not criticism, it was a terrible destruction, which said that a handful of children gathered again and did something called a series.
In the name of a beautiful hairdresser and they want to let people know what I know, put them to work and entertain them
Criticism that should not define, criticism should criticize, that is, open the case
I was always elliptical in one way, my work was never criticized
That is, we were not very capable critics, and this happened very rarely, well, elliptical works should also be criticized
Plays of this magnitude should be critiqued in order to continue writing, which, of course, has the nature of writing and is constantly boiling.
And he has the material and the subject, he knows his literature and he still writes, but good criticism helps a lot.
I have a lot of these criticisms, even from the theaters I worked for children to theaters for adults and student theaters
There were also good critics who wrote reviews about them, they were very helpful, in many places anyway when we were young and students
They encouraged us and you had no love or hatred, if we saw that they criticized or put their finger on a part of the work
It was good help for us, it made us progress, it made us excel, of course, if one looked positive
But we also had a lot of bad reviews that made one feel that I do not know why he is jealous, why he wrote out of jealousy, why he is destroying
It was a work that I put in the city theater, it was one of the first works that I put there, it was very well received
Well, it was a bit popular, and popular culture was used anyway
For example, I remember that they wrote a review saying that yes, they are already preparing the children to go and see a theater company.
Even then, when Mr. Nasirian was working, he had worked in the Iranian theater department, he was a writer and director.
For example, the critic wanted to destroy his work, and I am already preparing the children to be spectators in the future, for example, in one of his ironic theaters.
Because they thought that if it was ironic or something at all, it must be bad
That is, criticism can be very positive and effective for a work and the creators of a work
The greatest wish
My biggest wish is to be able to work again, to have the thoughts I have, the plans I have, the projects I have.
Let the friends gather and because it is in the service of the society, it is in the service of the people of this country and the children and teenagers
We can address these problems in society in the form of art, in the form of theater, films and documentaries, in the form of household chores.
That the educational dimensions must be observed in them, without chanting slogans
Because it resists then, both children and adults, I have to tell very indirectly about problems that can be a lesson for them and fun too.
I can do these things and for now I can still have a dialogue, I do not forget and I can not be present and I can be present
But it is a pity that, for example, I say that I have not worked for3-4 years, or in the last2 years, for example, I have done this for2-3 years that I did not like very much.
I wish it could have been more effective, not to miss so many opportunities that pass like the wind
For example, you say something, we say oh, the last5 years, oh,20 years have passed since some work,17 years have passed since the beautiful hairdresser, for example.
I remember we were so proud of what we say today that I did not want to go to efficiency.
I’m not saying it was a no-brainer, the mirror was very good in some parts but not much of a work of art
The good thing about the mirror was that it was the life of these people, it was their problems
I remember Tavi from one of the cities called a gentleman and gave me tea and they said God have mercy on your parents
I said why? He said that you were playing a part in the mirror, my daughter was divorcing my son-in-law
It was so effective that this divorce could ruin everything and the children could become the children of the divorce.
And then we see its effects in society and in these children, you unknowingly prevented this.
Unconditional love
An element called love, a quality called love, is a prerequisite for being human
If we see that our world is so violent, that our professions are so violent, we are so fighting
There is so much war in the world, so many children are growing up, because the world is running out of love
That is, there is more material that is ruling, love keeps this balance, even earthly love, love of all kinds, love of spouse, love of children and children
If we look a little bigger, say my kids are kids, I love all kids
How can a child who is drowning in these ships and the sea is full of nipples, this world is empty of love?
Many of these dictators exist in the world, in African countries, in Arab countries and elsewhere.
Have they ever sat down to look at the moon and the moon? Did they see the sea once? Standing in silence by the sea for2 hours?
And listened to the waves of the sea? Did they listen to the sound of the night in the forest? Did they even pay attention to things like this?
If this happened, that person would look at the world a little more humanely, at his own countryman.
He looked at the people of the world, at the women and children of the people so that they would not be harmed in this way
Because according to Rumi, when intelligence comes, when this mind begins to kill, the heart is forgotten, emptied of love.
Be smart and buy surprise, when everything is seen with the mind, there is an account and a book in it
And human beings and societies are emptied of love, which is not empty yet, but lack of love causes complications.
And one of the effects of displacement is one of the effects of war, the materialism that these unfortunate events are happening in the world.
Professors advise you
One of those tips is to respect your pioneer
We have always been like a soldier, and in front of an elder, our own master or veteran, even standing was a soldier standing in front of them.
Although we were friends with many of them, we even went to each other’s parties or invited them to come to our house.
Or they invited us, it was to respect your pioneer
And in addition to this, the important advice was to see work and work, read books and see work.
And practice, that is, practice for the rest of your life.
Or5 years that I did not wrestle or even1 year, now that Yahoo I want to jump on the mat and wrestle, can not
That is, an actor must also rehearse, correct his expression, read a play, see a play.
Television had bought the world’s leading theaters before the revolution, and they were dubbing them.
We also know that we have the best dubbers in the world, I saw some of them when they were playing
It was broadcast on TV late, which is good for the benefit of ordinary people and family
It did not take shape, it was a heavier task
It was very interesting for us to study in this field
Advice to young people
Well, sometimes I tell my grandfather or jokingly that in this field, for example, they tell me that they want to become actors.
We worked so hard for my wife before I ended up in the mosque
Sirus Ebrahimzadeh went behind the microphone in that mosque and said, “Do you know that the day after he lost his wife?”
They had to go to the filming and they had to deliver that location because the rent was too high.
I remember that Mr. Rashidi came alive and talked to me, I was a playmate with him
Reza said, “Come and come in2 hours and let these people finish their work. I came, but I played in space, I was not on the ground at all.”
And this is what Mr. Ebrahimzadeh said in the mosque and said that we are not good husbands
We are not good spouses to spend a lot of time with your spouse and children during an event.
It’s your wife’s birthday, the wedding is a loved one or you lost a loved one, we have filming, we have to go and the work can not be stopped
I mean, we learned this way, I do not know now, the hard work of children, young people
Acting is a difficult job, art is a difficult job, the first is that you have to be a responsible person and you can be selfless and you have to be able to go through many things in life.
Everyone who can not make money, as long as one can live and earn a living
Many died in poverty in our profession or other artistic professions, our poets, our musicians
Children are hard, you have to read, you have to go through a lot of things in your life, you have to be selfless, you have to be selfless
You have to study, you have to raise the culture, you have to work, you have to rehearse until the last moment you are supposed to be on stage or in the cinema.
You have to prepare yourself, what are my tools and yours? Our tools are our dialect, our breath, our body, our feelings, our knowledge
Our culture, our knowledge, welcome to this field, but you have to accept a lot of responsibility and you have to be responsible
Self description
I was sitting at school and I had my first poetry experience, I do not know if I was in the seventh or eighth grade
I saw that the children were reading poetry, I also said to recite a poem, I said a poem that I did not remember at all what it was or where I wrote it
In our childhood, we were not very exposed to the breeze of new poetry like Nima and others
We had read the poems of Hafez, Saadi, Rumi, Parvin Etesami and others to some extent in school books.
We said something there, I remember the end of the poem that had to end with the poet’s name
I had told you not to praise Reza
That I always saw in humor and now what should I define? We were not good, Reza Babak had ups and downs
There are positive aspects, there are negative aspects, sometimes it may even be disgusting to some people.
Of course, I tried to portray those characters more in the characters I play
But in the life of that hated and hateful character, I should cover it up and hide it in the depths of my being and not take it out.
I tried more to fill that part of my character with wings and I tried to be a moderate person.
I have always had the ideas of justice, freedom, and humanity, and that I love creatures.
I would rather say if I have something to say, if I have a message, and if there is a point about my work.
In any case, because we are teachers in our work, artists are teachers in society
It is that we try in every way to have a good and positive presence in life and society, in our country and abroad, as far as we can.
Ask yourself
If I want to ask a difficult question, for example, what question should I ask that is both difficult and has an answer?
It can be easy, for example, to say Mr. Babak, Mr. Reza, Uncle Reza, many people say Uncle Reza, Uncle Babak
From the beginning of your life, from the moment you opened your eyes until today, have you loved it? It was fun?
Was this life good for you? I say thank God, yes, you can not eat well
Absolutely, Mr. Babak
I tell him that thank God he was good, he passed anyway, life had happy moments, he had hard moments
As children, we had strange crises, we did not have the facilities of today’s children at all
Whether in childhood or adolescence, but it was life, it was family, they were parents, God bless them
There were sisters, there were aunts, we were all at the same table, relatives and kin were all close together
People were not so far apart, that time passed with all its hardships and beauties
And then the period of our youth, falling in love and working, suffering, the death of loved ones
Well, all of these are hard, happy moments, hard moments, good moments of regret. There have been many good times in our lives.
All this is over, well, all these are what make up life
Anyway, we wanted to work as hard as we could
We wanted to do a good job to serve the people, we wanted to do a lot more of these jumps and jumps that were in our lives.
Especially in our work and of course in our lives, it was decreasing, if there was knowledge and if the conditions were favorable, we should have used it better.
You have to drink life, many moments pass quickly, one does not believe the passage of time, it passes so hurriedly
I am with you, especially from one of Mr. Babak’s periods, you have to use the second, the second of life
You are a friend, thinking about the card, thinking about projects and talking and following and achieving it
You have to work, you must not miss this second, you have to use nature, use your friends, be in love and remain in love