Updated in: 23 November 2017 - 21:09
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Note / Rasoul Hasani
There are numerous media available to preserve and transmit the values of the sacred defense; "documentary theater", including these media, has the great opportunity and capacity to preserve and promote the rich concepts of the sacred defense and the Islamic revolution, which must be supported by cultural institutions. We can see its positive effects in society.
News ID: 66439
Publish Date: 15October 2017 - 23:02
Documentary theater; an opportunity to confront the distortion of the sacred defense
The Department of Art and Culture of the Presidential Rasul Hasani, the sacred defense of complex and multi-layered philosophy, requires a situation that does not arise in itself. Also, the media that should be transmitted through the sacred defense concepts should be identified and strengthened.

Documentary theater is a barrier against doubt and distortion

In other words, the theater was one of the first means of communication that people redefined as hunting events for others. No matter how much they behaved better in the manner of the event, people made better communication with them. As such, theater art is part of the identity and potential of all people.

Therefore, investing in this art in the field of sacred defense can bring fruitful results. Among the types of theater, "documentary theater" is one of the best means of transmitting the themes of sacred defense and the Islamic revolution. The actual text in the documentary theater is based on the documents the author has received in his research. In fact, documentary theater does not tell the story and explains the principle of the event with the drum tool.

In this type of display everything is legible. Contrary to other types of shows in which it attempts to be part of the history of sacred defense by the story, and the writer and director are not tied to the priority of events, the documentary theater is required to convey and narrate the scenes.

For example, in the Mersad Operation, all the events that led to the formation of the operation, as well as the effective people and the number of forces that were present, its results in the interior, subsequent events and related issues through dramatic games directly to the audience Will be transferred.

The difficulty of working in this kind of play is to act as an actor to play a dramatic performance, not out of context. We are faced with real names here, and actors must place themselves in the form of a historical personality. "Mirza Mohammad Selgi" played a key role in Mersad Operation. To perform such a scene on stage, the actor must approach the warrior. All the obvious aspects of the "Selighi" character should be in the performance of the actor. Behaviors and reliance on words should be seen in games.

In the documentary theater is not only the author of all the actors of the show to be based on the documentation, which also makes the work on the stage turn into a documentary source. In fact, the function of the documentary is the documentary theater. The growth of documentary theater requires more than any other relevant organizations such as the Foundation for the Protection of Works and Values ​​of the Holy Defense.

Regardless of the budget and other forms of support, these institutions have to provide artists with solid documentation. In addition, they must categorize the priority of the subject and provide conditions to go on stage.

The documentary theater allows for minimal distortion and allows the theme to be plotted in other formats such as book, article, film and other forms. The entrance of the Cultural Revolutionary Guards and the Army to the documentary theater is so necessary that it will be practically impossible to continue the life of this drama without these institutions. Also due to the emergence of a non-documentary theater in Iran, there are plenty of visual and artistic attractions for the audience to attract.

The documentary theater is a great opportunity to be at the disposal of the revolutionary forces and to use this medium that can be popular in the interests of revolution and sacred defense. It is also worthwhile to create the necessary infrastructure, such as training, equipping the showrooms, facilitating the research process, financial support, extensive and extensive advertising.

Documentary theater in our country is at an early stage and is still under trial and error. The theater artist should not spend energy on the process of inquiring and researching; he must focus only on the executive with peace of mind. The director, the actor, the writer, the lighting engineer and other executives are as artistic as possible and should think in detail rather than in other ways.

These are the cultural institutions that should carry out the heavy task of research. On the other hand, the artist must be free in the form of a performance so that he can take the executable to the best possible shape. The coincidence of cultural institutions and documentary theater artists for the sacred defense and the Islamic revolution will have many blessings that, if this happens, we will see that people will welcome it.

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