The alarm that Parviz Pourhosseini rang before his death
A year ago, fans of Parviz Pourhosseini heard the news of his death in disbelief and amazement. They had hoped that their beloved actor could knock Corona to the ground, but the disgusting virus dashed their hopes and made the art community mourn again.
Theater News Base: It’s been a year since that sad Friday. A year that was hard on the theater. During this time many artists have expressed concern about the unknown future of this art in the world after Corona.
Of course, these anxieties are also reminiscent of previous anxieties. Just as Parviz Pourhosseini had predicted a serious alarm for the theater many years ago, and it seems that this alarm has been sounding for some time.
To mark the first anniversary of the artist’s death, we review some of his concerns about theater.
“When I see a theater or a movie, I look for what it has done to me and what effect it has had on me as a spectator,” he said in an interview with Mansour Khalaj, which is published in the book Mandegaran Sahneh. Here I consider myself an ordinary spectator who wants to see the theater. I know I have some things with me anyway, but I try to see a normal theater audience like a normal spectator. “This is where I can say whether it was a good thing or not.”
He goes on to make an important point; Qualification for directing, which is one of the most important topics in theater these days: “In the old days, not everyone started directing. When we went to college, someone who was literate or dared to enter would enter the field. We had a high rank for directing. That is, we believed that the director should have another world with him. Be very literate. Have experience. Know how to work with an actor. Today’s theater knows the world and … not everyone could direct. If a young man was so-called arrogant and took up a text to perform, he would be attacked. Of course, let me remind you that I am not saying that if someone wants to experience, it is bad, but that someone wants to gather someone out of fun or to make money and finally show the audience a useless thing, it is not good and I do it. “I do not like.”
He went on to say: “I do not like it because a lady or a gentleman has money, they are allowed to rent a hall and work in a theater. While a more talented young man, who is more qualified, can not work just because he has no money and can not rent a hall. In my opinion, if this issue continues, bad consequences will await us. On the other hand, well-known directors like Dr. Rafiei or among today’s young generation, people like Hossein Kiani or Mohammad Yaghoubi, because of their abilities or experiences, can work with any unknown group, but if a well-known theater actor with theatrical background and training is also present. If they work, they will definitely have better results. But now someone who wants to work in theater is looking for a face so that he can have a box office and does not think about the quality of work at all. The work that we see has no effect on us and will have the opposite effect in the theater. In my opinion, this is an alarm for the theater. Just like when Lalehzar turned from an educated theater into an attraction. Once upon a time in Lalehzar, we saw the performance of “Mrs. Windermere Fan” or performances by Mir Seifuddin Kermanshahi, Reza Kamal Shahrzad, Seyyed Ali Nasr or Hassan Moghadam, and after that it was the only attraction that was performed there. You know, this incident caused thoughtful theaters and theaters that had something to say to be pushed aside and lost their audiences. In fact, the attraction caused the audience’s taste to decline. “God willing, this will not happen again and our theater will not face this issue.”
In this conversation, Pourhosseini also spoke about luxury theaters; The theaters that he did not see, of course, and he believed were not very numerous. But he believed that we should find the root cause of the possible popularity of these theaters, and he himself guessed that this was due to the fatigue of the people: “People are tired and they need to have fun and breathe spiritually. In the current situation, television does not give them this answer. That’s why they either turn to satellite or look for theaters or movies that have such spaces. In my opinion, instead of trying to criticize their tastes, we should examine these reasons and see why people pursue these kinds of things, and we should not label them as lampoons. “In my opinion, if we want the good of the country, let the different tastes work better and we will help them.”
A few years have passed since this conversation, and now there are far more difficult years for the theater and its activists, and here is the only happiness. It is good that artists like Parviz Pourhosseini, who was brought up in the golden age of theater, did not see these difficult days.
On the 7th of Azar in 1399, when this spectacular actor passed away forever, his fans did not think about these things. They thought of the happy memories he had for them, both when he appeared in a negative role as Dr. Faustus and as a positive figure in the “Glory” series of “The First Night of Peace.”
At the age of seventy-nine, Parviz Pourhosseini still wanted to have the opportunity to go on stage again and share his prolific career with directors such as Hamid Samandarian, Ali Rafiei, Bahram Beizai, Arbi Evansian, Bijan Mofid, Dariush Farhang, Rokn al-Din Khosravi. , Perry Saberi and … Of course, Peter Brook was registered in it, to be richer. Corona, however, did not give him a deadline and sent him to Behesht Zahra’s artists’ group to join his traveling colleagues.