I wanted to share the hopeful experience of "everything bright" with others

Amini said: My initial reception of the text was very impressive. It's rare to get upset or teary-eyed while reading a play, but I cried while reading this one.

Iranian Ambassador Arjan Art Service (Ambassador Arjan); Ebrahim Amini, the writer and director of cinema and theater, has gone to the play "Everything Shining" written by Duncan McMillan and Johnny Donahue in the "Playlist Abbey" show. According to him, the text first influenced him as an audience and then became a choice for performance.

In a conversation with Ambassador Arjan, Amini talks about the experience of reading this play, his criteria for choosing the text, the process of rewriting and dramaturgy, and how personal experiences are included in the adaptation.

Why did you choose the lyrics of "Everything Shining" to perform? Was the choice of this text more related to its presentation capacity or its content?

After the "terror" experience, I am more sure than before that I like to continue collaborative and interactive theater. If I want to follow a line to continue my activities in theater, it will most likely be this way. Of course, each project and each play has its own requirements, but collaborative theater is the direction I want to experience more.

"Everything Shining" had a lot of potential for this kind of performance and was even more daring than "Terror" in my opinion; Especially in terms of engaging the audience.

On the other hand, this play was performed in different countries. When you face a text that is staged in different cultural situations, you feel more confident; Because you can see that the work was able to communicate with different audiences. This was encouraging for me as a director.

But another important reason was the theme of the play. "Everything Shining" is about depression, hope in life and facing suicide.

In the last one or two years, we have gone through difficult experiences; From war and social unrest to unemployment, job change, economic problems and other tragic events. When I read the play in the midst of all this sadness and hardship, I felt that I needed such a text.

You emphasize that you were the audience of this play first and then you decided to perform it. What effect did reading the text have on you that made you decide so quickly?

Before we are the creator of a work or an artist, we are the audience of works of art. At least I can say this about myself. I also first read the play translated by Mrs. Samadzadeh and faced it as an audience, then I decided to direct it.

My initial reception of the text was very impressive. It's rare to get upset or teary-eyed while reading a play, but I cried while reading this one.

Usually, after reading a text I like, I think about whether it can be done, how it should be done, where it will fit in my work calendar, and how it will be produced and sold. But this time, as soon as the play was over, I sent a message to Ali Hosamfar and said: "I found the next job."

My decision came from the emotional impact of the text on me rather than the result of a rational calculation. I thought to myself, if this work can affect the audience as much as it affected me, maybe it will be hopeful for them and it can reduce their burden of sadness to some extent. This text helped me in the first place and I felt it would be good if we could share this experience with others.

When a play has been performed in different countries, how can an Iranian director use previous experiences, without just reproducing them?

After choosing the text, we discussed with Ali Hossamfar about its various aspects and entered into the process of rewriting and dramaturgy. I saw parts of foreign performances and searched about the play and its author in English. I also read two or three other works of Duncan Macmillan that were available in translation. These works helped me get to know more about the author's world and his way of dealing with the subject.

In this process, what happened that your personal experiences entered the text? Did you plan to bring the adaptation closer to your life from the beginning?

No, it happened gradually during the rewrite. Parts of my personal life entered the text and I felt that what I was creating was more like a meeting where I talk about lived experiences than like a conventional theater; It is as if I am sitting with people, reconstructing my memories and taking help from others to remember and narrate them again.

At that stage, I thought to myself that maybe this form can be considered something like "pseudo-theatre" or "post-theatre". I felt that if I gave the text to Ali Hosamfar to act, despite our closeness and the confidence I have in his acting ability, the performance would probably be closer to a more conventional form of theater, that is, a director who chooses an actor and he performs the text.

But when I appear on stage myself, the performance becomes closer to a personal confession and revelation. The audience feels that the person standing in front of them is not just playing a role, but narrating a part of their own experiences.

Of course, not everything that is said in the play comes from my personal life and a lot of it goes back to the original play. However, a part of my own experiences is also present in the performance. Two concepts were particularly important to me in this work, sincerity and honesty. I felt that I could better preserve these two qualities if I took over the narration myself.

Can we say that in this experience, the adaptation for you went beyond rewriting the text and reached a new definition of the narration method?

Yes, for me it was not just about rewriting the text. First, I was facing a play that deeply affected me as an audience. Later, in the work process, parts of my personal experience entered it, and I gradually came to the conclusion that the form of the text should be changed according to this situation.

When I felt that what I say on stage is closer to my personal experiences, I no longer wanted everything to be limited to the same familiar pattern of the director and the actor.

It was important for me that sincerity and honesty be present in the form of performance. These two features are not only summarized in the theme or dialogues; The type of interaction with the audience and the position considered for him are also important.

For this reason, "Abby's Playlist" is not just a performance of a foreign play for me. The original text was the starting point, but in the following, personal experience, rewriting and the type of relationship with the audience played a role in the formation of the final form.

The theme of the play and its emotional impact on you were the main reasons for choosing it. How much do you think a literary or dramatic work can help the audience in facing difficult life experiences?

When I read the play, I felt that I needed such a text. In a situation where we have experienced many bitter events, encountering a text that talks about life expectancy became important to me. I thought to myself that if this work can have the same effect on others as it did on me, maybe it can ease their sorrows.

Of course, I cannot make a general judgment about its effect on all audiences. What happened to me was my personal experience; But this experience made me want to produce the show and make it possible for others to encounter it. Sometimes a text is a necessary experience for the artist before it becomes a project to be performed. "Everything Shining" was like that for me.

After this experience, will you still consider the same ratio between the theme and the personal impact of the text when choosing the next plays?

The theme and the message of a work are very important in my choices. It is important to me that everything has an idea or an insight and comes from a real concern. I may follow different forms in cinema and theater, but I like to have this intellectual continuity in my works.

In theater I want to continue the collaborative path, but I don't want to limit myself to a specific genre or form. It is the same in the cinema; I may work in different genres, but I like that each work has its own thoughts and words and is not limited to repeating the previous experience.

Amini said: My initial reception of the text was very impressive. It's rare to get upset or teary-eyed while reading a play, but I cried while reading this one.

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