A Magic Maze of History

The nations’ tales from the perspective of an Iranian author can always been attractive. Whenever a talented and experienced writer did this less-experienced phenomena based on the globalized view of Iranians, it has bewitched the audience. If the written tale has commonalities with the worldview and culture of the Iranian audience, this could create a perpetual piece.

Naghmeh Samini, an author who have always been a colleague of Kiumars Moradi, is narrating a mystic love tragedy from Japan. Japanese believe the manifestations of civilization was gifted to them by Iranians. The Japanese pundits collected over 100 articles in a three-volume book, admitting that Iranians played a role in the Japan civilization. From the first Iranian who landed in Japan to what Buddha said and construction of temples and …cultural interaction between Iranians and Japanese. There are common symbols in mystic perspective of both nations. As pomegranate has the same symbolic meaning in the Iranian literature and that of Japan as a sign of life, love, birth. There are lots of examples of the sort.

“Spell of the Burned Temple” is considerable because it tells a story that makes a familiar connection to our subconscious. Treason and pains of vengeance are terms that are understandable and familiar in all cultures.

Love- an old concern of Kiumars Moradi- is being smartly told by Naghmeh Samini in the piece being performed in Iranshahr Theater.

It is a love, which even inspires a young man, which was born of vegetation reactions and makes the world of the piece understandable for all despites its complications. It is a story narrated from the perspective of three characters of the play. Every twist reveals a new window and discovers the secrets.

On the other hand, the power of the play shows off itself to the audience through bewitching performance of the cast.

The relations of the play are highlighted by the efforts of the director to remain faithful to the Japanese culture. The proper choice of a black-box set, which is not accidental, proves the depth of the knowledge of director and his set designer Payam Foroutan. Creative combination of the set with the elements of Japanese culture insists on common points in Iran and Japan cultures. The pond, which is stagnant but sometimes sees waves created by the hands of actors, the lotus flowers, which are beautifully added to the set and connect to the imagination of the audience directly, are adorable. The Japanese shoji (sliding) doors are smartly designed to turn in a character of the story rather than a set design. The ash jugs, which are seen on the two platforms in two corners of the set, can pop a big question into the mind of the audience and give them a bitter reply at the end which completes the play. Not to add how perfectly costumes and performance and dramatic elements are employed.    

Acts are perfect. I believe Mehdi Pakdel is making one of his best performances following years of lame acting. Pakdel’s poker face and inflexible features are turned into his Achilles heel. But this time the Achilles heel helped him. He was born of vegetation reactions and is supposed not to show any emotion in the piece. He could make the character perfectly. His hidden goose bump in the last act and poignant story of reason for his birth could deeply make the audience who is fed up with the daily life in a megapolis (Tehran) sad. He is a bridge between a long ancient story and the current situation of the audience.     

Hamidreza Azarang is praiseworthy as before. He can handle his character in the piece whether a woman in female costume or a man in male dress. Azarang and his influential hidden goose bumps shine on the set of temple and dominate the story.  The second half of the second act and all of the last act he makes a pleasant acting. He surprises us behind his female mask during the long darkness despite that the audience knows the story and secret of the old shaman. Apart from the fact that how the story influences an audience who sees the piece for the first time, I witnessed how general directors of West Asian countries were surprised and enjoyed by the acting when I saw the show with them last week. The huge Iranian audience prove how influential the different elements of the piece are.

Pantea Bahram can perfectly shine in the character of an opportunity female mystic and a hard-hearted self-cheating shaman.

Make-ups are good and the make-up artists did a great job. Two woman and man and three stages of adolescence, younghood and oldness are believable thanks to the make-up.

Music is pleasant and properly used. The young music player does a great job. More important is the trace of Kumars Moradi in the music who is a talented player of oriental instruments.

The perfection can be seen in “Spell of the Burned Temple” and can make us go to the roots of our culture. It can inspire us to review our rich mysticism and literature. I wish Ms Samini and Mr Moradi can step into the world of Iranian culture or make a story from One Thousand and One Nights, or Saadi, or Ferdowsi and … with all the elegances we know of them. Such a difficult task is doable by experiences we know of these two talented artists.

The enthusiasm we see in Iranian audience in pieces like this shows that members of our society want to connect to their true Iranian nature. The return leaves behind intellectual layer of the society. It is an asset for the Iranian culture per se and shows re-trust of the audience.