The standing of Dashestani women against the occupiers in the narrative of dolls

According to the theater correspondent of Fars News Agency, the 19th Tehran-Mubarak Puppet Theater Festival is being held under the direction of Hadi Hejazifar; A festival that has found a new life with the enthusiastic presence of artists from different parts of the country and also with the participation of dolls, each of which shows an authentic culture in Islamic Iran.

Mohammad Mehdi Esmaili, Minister of Guidance, attended the 19th Tehran Mubarak Puppet Show Festival on Sunday evening, July 11, and watched the show “Mirza Mohammad” and at the end of the show, he thanked the organizers of the festival and the artists. He said: “The show we were watching was one of the privileged historical stories, which was a story of Iranian lionesses standing against the enemies.”

On this occasion, we had a conversation with the director of this show. Qasim Tangsirenjad has gone to a true story to stage the play “Mirza Mohammad”. A story from the heart of contemporary history during World War I and the British occupation of southern Iran. What makes the new show of Dashestani director Qasim Tangsirenjad different from any other historical and nationalistic show is touching on pages of history that have been less discussed so far. He went to Mirza Mohammad Khan Ghazanfar-ul-Sultaneh Barazjani, the khan under whose leadership the people of Dashtestan stood against the encroachment of the British. The shining point of the show “Mirza Mohammad” is its narration of the historical role of 9 women from the plains, after the siege of the resistance forces by the British army, and the cooperation, intelligence and courage of these women, which caused the defeat of the enemy’s army.

Qasim Tangsirenjad, an experienced puppet show director who participated with “Mirza Mohammad” in the adult section of the 19th International Puppet Show Festival, said about how the initial idea of ​​this work was formed: “My feeling was that after the events of the second half of last year, I should In works of art, he looked at the historical stages of women’s presence in social events with a different eye. So, first I staged the show “Est” written by Pernia Shams and produced by Mahsa Rahspar, and then I went to “Mirza Mohammad” written by Aqeel Jamati.

He continued: “The story of the show “Mirza Mohammad” narrates historical events that have not been noticed before due to many reasons. Part of the reason for this part of history being neglected is the strong and undisputed presence of women in its formation, and this has caused calls to emphasize the role of men in this event. According to historical documents, these women, who are 9 in number, after the capture of their men by the British, by being in the Larde area in the heart of the Giskan mountains, acted in such a way that the British army was forced to surrender their prisoners and retreat with about 200 dead. What I wanted to portray was the resistance of these women against oppression.”

Tangsirenjad, in response to where this volume of his interest and nobility in history originates, added: “I have always been interested in history, and everything I do has the status of a study project for me. In such a way that for the production of our previous work, “Macbeth” co-directed by me and Mehsa Rahspar, I can confidently say that I read more than 20 volumes of books. He also counted the amount of time he spent rehearsing the show “Mirza Mohammad” as about four months due to the large number of characters, while emphasizing that due to the need for patience and precision in the construction of the decor and designing and making the puppets of this work, most of their time was spent on this. It has been worked.

He entrusted the stage designer and puppet designer “Mirza Mohammad” to Yousef Etisamizadeh, and the creation of the puppets and stage to Etisamizadeh and Hassan Nizamat, referring to the use of table top puppets and adding about the stage design: “When I asked Yousef Etisamizadeh what He has a design in mind for the decor, he pointed out in an interesting answer that we can convey the dry and mountainous atmosphere we want with cardboard, better than any other material, and that’s why all our decor is made with cardboard.”

Tangsirenjad also said about the amount and timing of the payment of subsidies for the 19th Tehran-Mubarak International Puppet Show Festival: “I have spent 60 million tomans for the production of Mirzamohammed so far and due to the high cost of producing the work.” So far, we have received 30 million Tomans, and the next installment of the assistance we will receive is 10 million Tomans.”

He also said about the works seen in the 19th Tehran-Mubarak Puppet Show Festival: “So far, the work of the show “Mathluth”; I saw the combination of Shakespeare’s three plays “Othello”, “Hamlet” and “Macbeth” directed by Qais Yasaghi from Mashhad, which I thought was a very good work. “Pirosmani” directed by Alena Matskhonashvili from Georgia was also remarkable.

Tangsirenjad answered whether there was any talk about the public performance of “Mirza Mohammad” and said: “I hope this happened in Tehran.” Because as you know, one of the concerns of artists living in other cities of Iran, except the capital, is to go on stage in the center and be seen in the hope of opening the way ahead. In my opinion, the performance at the festival, despite its undeniable importance, is completed next to the public performance.

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