Fars News Agency – Theater Group: Every year, many events and festivals are held with the theme of Lieutenant General Hajj Qassem Soleimani during the anniversary of this national hero. Events that each played an important role in maintaining the status of martyr Soleimani. A look at the organized events shows that the “quantity” of festivals is as if they have become a ritual. Rituals that apart from the quality and the final product, the spirit of holding them is positive and every year can keep Haj Qasim’s discourse alive more than ever and help to expand the Soleimani School.
In the meantime, there are institutions and organizations that have more appropriate budgets than other institutions, in fact, it is expected that these institutions, in addition to expanding the school, will be more focused on results and focused on quality production.
Undoubtedly, the first approach, i.e. the “ritual” view, can create grounds for us to gradually move towards qualitative works; But it can still be emphasized that some institutions should be completely focused on quality products and have “artistic creative creation” on the agenda.
Among the organized events, one of the most important is the “Serdar Asmani” theater festival. This festival, which is held under the Association of Revolution Theater and Sacred Defense, is one of those events that can be expected to produce quality works.
In this regard, a meeting was held in the Fars news agency with the presence of Mohammad Kazemtabar, the secretary of Sardar Asmani Festival and Mohammad Mohammadi, the director of public relations of Fatah Cultural Foundation.
You can see the details of this meeting below.
“Sardar Asmani” festival will be held in Farat Tehran
Fars: Many events are held during the anniversary of the martyrdom of Haj Qasim. We believe that in addition to preserving and even slightly expanding these events, we should also pay attention to the quality of the products. Now, did this happen in the “Sardar Emani” festival? To what extent has this festival been able to; lead to both quantitative expansion and quality of works?
Kazem Tabar: This year’s festival has started from today, the performances have started from today, and the performances are supposed to be held in twenty-three cities and the shows will start their work. The plan we had this year was to involve the whole country and exactly the time frame. After the martyrdom, it means that this ceremony and this festival should continue from one day before the martyrdom to seven days after the martyrdom of the leader.
What is happening, we are performing from the 12th to the 16th in the cities of Karaj, Kermanshah, Ilam, Dehlran, Mashhad, Qochan, Lordegan, Meibod, Kerman, Bushehr, Borujerd, Tabriz, Marand, Sari, Rudsar, Kamiyaran, Qorveh. , Shiraz, Abadan and Isfahan are among the cities where we will perform the show.
The plan we had was that, in the first step, people all over the country would get to know about this issue and the general audience of the cities would use these shows; In previous periods and in general festivals, it happens that a limited number of audience from the host city only come across the show, but this does not happen in this festival. Twenty-three cities are involved in this festival, border cities, East Azerbaijan, Kurdistan, Ilam. , Kermanshah, Sistan and Baluchistan to Razavi Khorasan itself are involved in the performance.
According to the prevailing conditions in the country and the existing atmosphere, we tried to make the best happen and involve all the cities and most importantly bring the implementation at the city level; God willing, our performances in Tehran, which were announced as selected performances in the invitation, will be performed from the 17th to the 20th in Imam Hossein Square and Ivan Intejar and some schools of the country.
*Thematic expansion of the characteristics of the fourth course of Sardar Esamani
Fars: Shahid Soleimani’s personality has different dimensions, all of which can be a role model. Is there work related to all these dimensions in the festival?
Kazem Tabar: Yes, in this period, for example, a special work that happened was a work on the topic of Haj Qasim’s view on hijab and chastity, which was sent to the secretariat from Bushehr city. The show of Bushehr, God willing, on the 13th and 14th in Kerman at the same time as the official opening of our festival that The 14th will be implemented in Kerman and then the same work group will be implemented in Bushehr. We had other issues of this kind, and the works of each province refer to a specific issue of Martyr Soleimani’s dimensions, and we even have a work of Lords that was related to the martyred commanders who defended the shrine; By the way, thank God, there has been an expansion of the topic in this course, and God willing, it will be more in the next courses and the shows will be produced with more support.
Fars: How do you evaluate the quality of the works of the festival and what is the plan for these works to be performed on the theater stages of the country?
Kazem Tabar: I am at your service regarding the discussion of the public performance of the shows. God willing, this space will be created on different occasions for the works to be performed in their own cities. Now this will happen depending on the capacity of each city and the available occasions.
Regarding the quality, it should be said that this year, fifty-two works were sent to our secretariat in less than twenty days, and out of these fifty-two works, thirty works were of acceptable quality, which were accepted by our selection committee. We did not look at this year in terms of competition with last year. Any acceptable work in terms of quality that was presented, we gave it a performance and it was accepted, because our goal was that more audiences get to know and get involved with this subject and this art, so we have 30 quality works that were accepted in the festival. and this itself shows that something special has happened.
*Mohammadi: The essence of a theater artist is associated with the flow of resistance
Fars: This festival has passed three periods, in each period original works (unique, special) have been produced for this festival. So far, in your opinion, has this festival been able to be effective on the theater scene and create a trend or a discourse in the country’s theater or not?
Mohammadi: There is a point that I would like to explain to you first about the history of this festival. It is that about ten or twelve days have passed since the martyrdom of Haj Qasim, when the then management of the Revolutionary and Holy Defense Theater Association decided that a conference would be held. to hold a National Day under the protection of Haj Qassem Soleimani.
Well, the first course was held in the form of a national conference and the reception that was created in the first course and in that time we had a little time until Haj Qasim’s Arbaeen, now the guests were present. First, in a period of ten days, more than two hundred works applied for the company.
In the festival, if I want to look at the issue in a more general way, basically the real artists, the artists of the country’s theater body, were always with and in sync with the resistance body. It was happening.
This happened in Sardar Esamani festival; The National Conference, which in its first period received two hundred works in a few days, that is, less than twenty days, shows that our theater artists are very interested in participating in the areas of resistance, provided that the platform is provided, and we at the Narrative Cultural Foundation Fatah witnessed that each period was better than the previous period in terms of the quality of the works and the type of theater artists’ company, and the fourth period anyway reached a growth, and I can boldly say that the fourth period has far better quality works than the third period.
* The final step is the internationalization of the “Heavenly Chief” festival
Fars: Is the reason for this association from the theater artists better support or is it based on their own taste?
Mohammadi: Basically, I want to say that this reception of theater artists is not only due to being commissioned or due to holding an event, but it is the nature of the theater artist who accompanies the body of resistance and the flow of resistance; This passion has always been seen from the body and noble theater artists apart from a number of celebrities.
Fars: Is becoming a national event the end point of the festival?
Mohammadi: Our final step is to internationalize the festival; Because in the first years, we used to activate the festival in one province, and now we have moved the festival to the whole country.
This event causes the transfer of art to the provinces and looks at provincial artists, and all events from evaluation to judging and performance are held with provincial artists.
Let’s not forget that the theater was involved in the corona virus and it was the theater of resistance and holy defense that kept the light of the theater on. Even today, due to the conditions, many shows are not staged, but when a resistance event is held, artists from different provinces arrive and their work. they do
As a result of Sardar Asmani Theater Festival in the past three periods; Today, there are nearly 600 works and plays on the subject of Sardar Soleimani, each of which can be a single play for artists.
* Haj Qasim is not one person, the scholar is one front / this festival is dedicated to the defenders of the shrine
Fars: Now that 3 editions of this festival have been held, the topic and content available in the access centering on Haj Qasim, is there a tendency to hold the fourth edition or subsequent editions of this festival?
Kazem Tabar: You see, correct planning can definitely lead to a good outcome for the fifth period, a point that exists when we say that the Heavenly Commander is not just the life of Haj Qassem Soleimani and the Heavenly Commander Haj Qassem Soleimani and the martyred commanders of the Resistance Front, the martyred commanders of the Front against the evildoers and all these Is.
Haj Qasim is not one person, he is a scholar of one front, and all these people have special abilities in their lives, and most importantly, many of the stories we have are of people who got in touch with Haj Qasim, that is, not only Haj Qasim Soleimani, but people who were influenced by Haj Qasim. Qassem Soleimani, includes thoughts and attitudes that are influenced by this movement.
And most importantly, we know that “drama” is not just a life, drama can be formed in the author’s imagination, for example, there was a text that was performed two years ago in Sirjan, it was a stage performance, well, someone had a dream about Haj Qasim’s ring, see everyone These topics can be processed.
In a way, our goal is to make the festival of Sardar Asamani the festival of Haj Qasim and the defenders of the shrine, the defenders of the shrine, who are less addressed and do not have a festival; This means that this festival is a special festival for the defenders of the shrine and it is the banner of the defenders of the shrine of Hajj Qassem Soleimani.
*Society rejects weak works with the subject of Haj Qasim
Fars: Regarding Hajj Qassem Soleimani, many works have been produced in various topics and formats, but so far no work has been made in the form of a movie; in your opinion, should not the Fatah Cultural Foundation be responsible for this?
Mohammadi: We have to accept that the topic of Haj Qasim and now the topics that are going to be raised around this great man have special sensitivities; We can quickly prepare a movie, let’s say, sir, we have produced a movie on the subject of Haj Qasim, but when the movie is of poor quality, the movie is not a work of art and is devoid of any facilities and quality, the society will not accept it.
Fars: So the production of the work has started with this topic?
Mohammadi: Yes, of course, we prepared the preparations for the production of works in the cinema field of the Holy Defense Association. In the same way in the field of documentary, however, these require research and research and to be able to face all aspects of this dear martyr, that is, we cannot just do it like this and say that we produced works about Haj Qasim, we made a documentary. We made a movie about Haj Qasim, these things take time, now you and we all know that the issue of Haj Qasim is a sensitive issue, in any case, there will be many unsaid things that should be investigated.
It is a model of other sensitivities, the sensitivities of the society towards this great man, you just need what you express in the work to be a millimeter shorter and lower than what the society knows about Haj Qasim, the society will quickly reject it, because this The community knows Haj Qasim more than many.
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