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Mystic Lear and Playful Hamlet: The Critical Cultural Dramaturgy in the Iranian Appropriations of Shakespearean Tragedies

Mystic Lear and Playful Hamlet: The Critical Cultural Dramaturgy in the Iranian Appropriations of... <p>Abstract:</p><p>This article examines the process of "critical cultural dramaturgy" in the course of the textual domestication of two Shakespeare&apos;s plays (<i>King Lear</i> and <i>Hamlet</i>) by the Iranian theatrical group Bāzi. Mohammad Charmshir (as the playwright) and Atilā Pesyāni (as the playwright and director) have created a cultural dramaturgical kaleidoscope in which several intertexts converge during a less signaled interaction with the source text. This convergence generates a robust relationship with Iranian modes of performance that are inspired by Persian <i>hekmats</i> (wisdoms). In their experimentation with form and content, the plays&apos; dramaturgs/adapters form a relevant dialogue with a "privileged interlocutor" (Litvin), which consists of the aesthetics and thematics of their own dramatic traditions and ritual practices, and season it with a critical look at their sociocultural values. The process of "critical cultural dramaturgy" thus not only Iranianizes temporal proximation and special relocation of characters, plot, and settings, but also involves borrowing conventions from <i>ta&apos;ziyeh</i> plays (Iranian commemorative drama), <i>naghāli</i> (epic storytelling), and <i>rū-howzi</i> (comic improvisatory drama). The result is changing Lear to a mystic traveler and <i>Hamlet</i> to a laughing prince.</p> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Mystic Lear and Playful Hamlet: The Critical Cultural Dramaturgy in the Iranian Appropriations of Shakespearean Tragedies

Asian Theatre Journal , Volume 36 (1) – Mar 13, 2019

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

<p>Abstract:</p><p>This article examines the process of "critical cultural dramaturgy" in the course of the textual domestication of two Shakespeare&apos;s plays (<i>King Lear</i> and <i>Hamlet</i>) by the Iranian theatrical group Bāzi. Mohammad Charmshir (as the playwright) and Atilā Pesyāni (as the playwright and director) have created a cultural dramaturgical kaleidoscope in which several intertexts converge during a less signaled interaction with the source text. This convergence generates a robust relationship with Iranian modes of performance that are inspired by Persian <i>hekmats</i> (wisdoms). In their experimentation with form and content, the plays&apos; dramaturgs/adapters form a relevant dialogue with a "privileged interlocutor" (Litvin), which consists of the aesthetics and thematics of their own dramatic traditions and ritual practices, and season it with a critical look at their sociocultural values. The process of "critical cultural dramaturgy" thus not only Iranianizes temporal proximation and special relocation of characters, plot, and settings, but also involves borrowing conventions from <i>ta&apos;ziyeh</i> plays (Iranian commemorative drama), <i>naghāli</i> (epic storytelling), and <i>rū-howzi</i> (comic improvisatory drama). The result is changing Lear to a mystic traveler and <i>Hamlet</i> to a laughing prince.</p>

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Mar 13, 2019

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