The uncivilized view of the civil institution of artists/theater houses never had the opportunity to become independent and does not have much of a role in decision-making.

Charso Press: In the last decade, the field of activity for artists, especially theater artists, has become narrower, and the corona virus and political and social events in the country, especially after 2018 and other issues, have all joined hands so that theater artists can survive the turbulent and disorderly days. leave behind This difficulty increases when these artists do not see a clear horizon in front of them. In such a situation, it is the duty of the trade unions to act as facilitators of the conditions and restore the rights of the trade union activists and try to take the right step to improve the existing situation with the relations they have with the higher institutions and the government. To put it more clearly, it is expected that the theater house, as a trade body of the Iranian theater family, will play a role and be more influential in this situation than in the past, but based on the available evidence and the worries and pains of the artists in this field, these days they do not even have an ear to hear their voices. and listen to their words. Many artists say that the theater is failing to fulfill its duties more than ever. Of course, this is not a negation of the government’s policies in the field of culture and specifically theater, and inefficiencies should be seen at the level of cultural macro-management as well.

The government’s policy is not to strengthen trade unions

Behrooz Gharibpour, a well-known theater artist who has been working as a director and artistic director for decades, believes that “in the last decade, all trade unions in Iran have weakened” and explains that “it is as if the ruling policy is based on the weakening of these institutions and based on Based on the available evidence, it can be claimed that the government policy is against the continuation of trade unions. In the field of culture and art, the Ministry of Culture and Islamic Guidance, which has a decisive role, has not been able to be efficient.”

He says: “When I was on the board of directors of the theater house, my colleagues and I tried to solve the existing problems, and even after that there were some cases that were mentioned in the press, we tried and got a good result, but I’m sorry to say. Today, the House of Theater is in a situation where these connections are so weak that I don’t even know the name of the current CEO of the House of Theater!”

According to the head of the “Aran” theater group, the theater house has made effective efforts in some cases: “Experience has shown that the theater house has tried to tighten the circle of censorship in cases such as artists’ insurance, defending the rights of artists, and issuing statements and announcing positions. He has done and influenced as much as he could, but it must be accepted that in such times, more than in the past, there is a vacancy for a bigger authority or a powerful group that takes into account the interests of the family and makes a competent decision at critical times. A trade union that must defend the rights of its members above all.”

Gharibpour does not consider the problems of the theater house to be only a problem of this institution and believes that “the cinema house, which has more facilities, also suffers from this problem, and the successive changes of managers have not been able to help the members of the theater house and the cinema house.”

Continuing the discussion about trade unions, referring to the weakening of the lawyers’ association in recent years, he said: “The field is so narrow for the lawyers’ association that this institution can no longer function as before. “Unfortunately, the government’s view of civil institutions is non-civil, and this leads to the deprivation of the powers and facilities of trade unions, and the theater has weakened in various ways in these years.”

He considers some of the criticisms of the Theater House as unfounded: “In my opinion, these words are baseless, and at any time and stage, these words can be attributed to trade unions, and those who stand outside the pit are always able to perform. Criticize a person or an association; Most of the criticisms are baseless.”

Gharibpour believes that in the current situation, “the light of trade unions should not be allowed to go out. They should be able to continue their activities, even if they are crooked and infected, and we should be happy that despite many problems, the light of the theater is still on.”

As mentioned at the beginning of the report, it must be accepted that part of the problems that have plagued the theater house in recent years are caused by inefficient management, successive resignations of the house managers, etc. Managers who sometimes claim to be theatrical, but in practice they cannot realize the goals and rightful demands of the theater family. Their ultimate kindness during the spread of Corona is donating goods from the past to the members of the house.

Small turnover, dilapidated facilities

Shekarkhoda Gudarzi, who has been aware of the activities of the institution since the establishment of the Theater House, from the time when the founding board of the Theater House was present in a room in the artists’ house as a tenant until now it has an independent place. He says: “Most of the criticisms that are made to the theater house these days come back to the nature of the theater house. Unfortunately, trade unions in Iran are getting thinner and thinner every day. The cinema house, which cannot be compared with the theater house in terms of facilities, faces such problems. The conditions have gone to the point where trade unions no longer have the authority, power and potential to work.”

He adds: “The need for theater is like the need for bread in any society, and in any situation, there should be a theater in a country and efforts should be made to grow it, but unfortunately, despite all the claims made here, not only theater but in general “The real dignity of art and literature is not preserved and they and artists are not supported.”

This veteran director continues: “No money is spent on the theater to say what direction it is going. The money spent on the theater is not as much as five football players. There is no money in the theater at all and I don’t know what the fight is about? The amount of the theater budget is something of a joke, and with this budget it is not even possible to organize a provincial festival, let alone plan for the theater of a country for the current year and for macro policies that will work in the long term.”

This university lecturer also explains, “If you look at the facilities dedicated to the theater in the last 40 years, you will see that the theater is only decorative from the point of view of the administrators. How many professional theaters do we have? We don’t go far; How many theaters have been built in Tehran, apart from the Shahr Theater, which was opened before the revolution? “The only government building dedicated to the theater is Iranshahr with two theaters that, after almost two decades, still do not have good facilities and this hall has many disadvantages.”

Referring to the private theaters, Guderzi says: “None of these theaters were built in principle and were set up only by changing the use of some buildings and a little bit of construction, and none of them are really suitable for theaters.”

According to Guderzi, “the financial turnover in the field of theater is very low, and the facilities are small and dilapidated.” He says: “The government’s view of theater is not real. In such a situation, there are no conditions at all for the theater house as an effective institution. With the bills that the government presented to the parliament, there was never an opportunity to turn the theater into an organized and independent institution. With the independence of the theater house, there is a basis for its activity in the country. Unfortunately, in most of the theatrical events, the theater does not have a share in decision-making and planning.

He believes that “with an independent organization, theater can be strengthened in the country” and adds: “while many young people graduate in this field every year and are waiting for a change in this field so that they can work in relation to their field of study. but the conditions are different and there is practically no possibility for these young people to attend.”

Gudarzi, comparing Khanehateat with the Hollywood Actors’ Union, says: “In Hollywood, the Actors’ Union had such an ability that it was able to insist on its positions and raise the salaries of actors and get answers, but unfortunately in Iran, Khanehateat does not have this legal authority and authority. He practically cannot act.”

According to Gooderzi, despite the many problems faced by theater people and the theater house, practically every attempt to shout is in vain and their voice will not reach anywhere until the government’s view of the theater changes, practically the theater house cannot play a key role in this. have a vicious cycle.”

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