A relief for this tumultuous century and less-seen photos of salamanders.

Charso Press: Hamid Thargyan, who is known as the father of modern Iranian theater, was accompanied by the angel of death after a period of illness and after 81 years of life.

Today, on the anniversary of his death, we review some of his views on the place of theater in today’s times, which are mentioned in the book “This stage is my house”.

“Today the world is chaotic. Today, the world is not at a crossroads, but at a thousand roads. On the one hand, altruism is recommended, but at the same moment, altruism has no meaning anymore. On the one hand, freedom is recommended, but at the same moment, freedom becomes a slogan. Mankind has no hope of getting better, for years prophets came to make man better by guiding him, but he got worse and didn’t get better by being guided, that’s why no more prophets appeared. Little by little, policies came and every policy put its own utopia on its chest and called itself absolute, and at the same moment it cultivated its opposite, that is, the angel appeared, but in the end we saw that the demon came out of the water and the same calamity happened to the theater as well. .

Theater is nothing but a reflection in the mirror and what happens in the mirror is nothing but what happens in reality. If we now want to see our own time, the time of terror, murder, suicide, collar-wearing, unemployment of young people and people who have reached absurdity in this century of despair, maybe this is only a small picture of the reality that is happening, so the theater is also under the influence. Placed. Today, technology has destroyed morals and as a result, this same technology has also influenced the essence of theater; Laser light has nothing to say in the theater!

See, why the artist likes to work directly, because he wants to show that if he plays Brahms for an hour and a half, his hand does not tremble on the bow, but if he gives his melody to the synthesizer, he will play it forever. Technology has no soul. The soul of art is taken from art, as the soul of society is taken from society. What is not clear is that the world, with this human being that it nurtures, also makes itself look more terrifying.

In his time, the genius Shakespeare warned us that there will come a time of discussion and discussion in art, that is, what we call absurdity. Shakespeare saw this before us, he saw this and called it Much Ado About Nothing.

Shakespeare saw it and told us through Macbeth that the life of Yaveh is a story told by a madman and all the fuss is pointless and after him, Charlie Chaplin said don’t give the cinema so much rule of technology, let the image find a dialect

You see, mankind has the power of discovery and invention, but today he commits crimes for the necessities of his life, to gain power or conquer the moon…

And with all these human anxieties and controversies of today’s machine life, the theater breathes because we need a dialogue with the language of art. Because in this race where life moves forward quickly, art again surpasses life and is ahead, and theater is a relief for this noisy century!

Hamid Saarigian, who was at a crossroads between music and theater during his teenage years, hugged his violin one of the peaceful nights of that time and cried until morning and greeted the theater.

But he always remained attached to music and did not forget the joy of playing the violin bow and being a student of Master Zulfanun.

He was born in a religious and noble family in Tehran’s Molavi street, performing shows such as “Unburied Dead”, “Andorra”, “Leucadia”, “Rhinoceros”, “Marriage of Mr. Mississippi”, He staged “Strindberg’s Play”, “Meeting the Old Lady”, “Glass Zoo”, “A View from the Bridge”, “Ghosts”, “Caucasian Chalk Circle”, “The Seagull” and…

Hamid Saarigian in the yard of Ibrahim Golestan’s house

He was never satisfied with just being a director and from the very beginning of his career as one of the professors of the Country Theater, he devoted himself to the education of many students. So that many capable actors of different generations are proud of his studentship.

In addition to this, Sariyanyan was always busy translating his favorite plays. He, who had completed his education in Germany, translated the works of well-known playwrights such as Max Frisch and Friedrich Durnmatt and introduced them to the country’s theater community due to his mastery of this language.

He belonged to the golden era of Iranian theater and in the 60s, when he was not allowed to operate for a while, he opened a restaurant where theater was served more than any food.

On the morning of July 22nd, when he left the stage of life forever, his many fans knew that although theater is a dying art, the legacy of a great artist like Hamid Saarigian will always last.

Source: The book “This is the scene of my house” includes the life, thoughts and works of Hamid Saarigian in a conversation with Afsana Mahian, Qatre Publishing.

The name of the first person is not known, but the other people present are, in the order of Thargyan, Parviz Kardan, Abbas Javanmard, Jamshid Laeeq.

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