The adaptation of Tehran-Russian writer Vladimir Voinovich, “Tribunal: a Courty Comedy in Three Acts”, is currently set in Tehran’s Shahrzad THEATRE COMPLEX.
Nader naderpour is translated into Persian by ABTIN GOLKAR, a famous Iran translator, Director of Drama.
Alireza Qorbanzadeh, Saleheh Dorani, Armin Hemmati, Sama Ahmadi, and Aida Moradi are the main members of the cast until February 8.
The Court: Courtory Comedy is functioning as a biting of the Soviet Show trial in the 1960s and 1970s, reflecting one of the most prominent opposition in the Soviet Union.
Voinovich, who is often welcomed as the 20th century Russia’s “the largest living carrier”, inspired the 1966 Sinjabsky/Daniel Court. Union. This passionate involvement was eventually expelled from the Soviet Union in 1981.
Therefore, “Court” is not only a comedy’s work, but as a tribute to a brave soul that resisted the oppression of Soviet during the Cold War, at the same time, a more broad culture facing the world’s worldwide. I criticize censorship.
In the tradition of the absurd theater, which runs around the style of celebrities like Aristo fan, Sartre, Frish and Havel, Boinovich builds a dark, humorous and ridiculous story.
The play is expanded by entering what they believe that they are a comedy of Chekhobbian, as Sena and Larissa Sun Kasnikov, who do not forget the true nature of the theater. Instead, they notice that they are intertwined with the pioneering and ominous work of the Soviet criminal court. On the stage, there is an eerie reminder in the court settings. Temis, the goddess of justice, is balanced by a hammer, a sickle and a sickle, even in the prosecutor’s and public lawyer benches, and even the defendant’s cage, and even the defendant’s cage.
When the ominous sound resounds from the outside, the atmosphere changes quickly. The Shiren car screams, and the intense light of the police car creates a sense of fear.
When the members of the court go up to the stage in theatrical exaggeration, the audience realizes that they are trapped in a grotesque mock trial. The armed and alert security forces block the exit and effectively render the spectator’s prisoners with this surreal performance.
Voinovich skillfully collapses the barriers of reality and fiction, and immerses the audience in the psychological confusion that defined Soviet experience during the stagnation of Brezinev.
As the first discomfort calms, Larissa calls her growing confusion and questions the armed guards. Senna, who is trying to reassure her, rejects her fear as a mere play. Not to be known to them, their questions will lead to a welcome role as a defendant in this nervous trial. The chairperson’s claim symbolizes the absurdity of the lawsuit, “Where there is a short -life, someone needs to try it!”
Despite Sena’s innocence, the court remains indifferent, and by the end of the first act he noticed that he was in the cage, Larissa’s guilt and innocent belief. I was torn in between.
As comedy develops, Voinovich navigates a sparse balance between humor and tragedy and investigates the theme of personal and political identity. Eventually, Sena transforms into a global opposition and incites protests and protests in the west democracy.
But the play raises critical questions. Is he a hero, or is it a pawn in a geophy games, or is he forced to comply with a portrait of “Soviet dissidents”? In the final act, the Senya is behind the scenes, so these questions are not resolved, and the audience encourages the audience to confront the complexity of the truth and expression of the world full of absurdity and oppression.
Thus, Voinovich’s stunning work has a charm that faces a relentless administration, encapsulates the essence of objections, and has influenced the audience inside and outside the Soviet region.
SAB/