<p>Abstract:</p><p>This article examines the process of "critical cultural dramaturgy" in the course of the textual domestication of two Shakespeare's plays (<i>King Lear</i> and <i>Hamlet</i>) by the Iranian theatrical group BÄzi. Mohammad Charmshir (as the playwright) and AtilÄ PesyÄni (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' 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'ziyeh</i> plays (Iranian commemorative drama), <i>naghÄli</i> (epic storytelling), and <i>rÅ«-howzi</i> (comic improvisatory drama). The result is changing Lear to a mystic traveler and <i>Hamlet</i> to a laughing prince.</p>
Asian Theatre Journal – University of Hawai'I Press
Published: Mar 13, 2019
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