Armaghane Teatar Arghwani; 25 years since Naseh Kamgari's drama writing career was published

The collection of Naseh Kamgari's plays under the title "Armghan Teatar Arghwani" was published by Asatir Parsi Publishing House.

According to Mehr reporter, the book "Armaghan Purple Theater" including 22 plays by Naseh Kamgari, author and playwright, was published in one volume and 630 pages by Asatir Parsi Publishing House.

This book includes a collection of Kamgari's plays from his youth to the sixth decade of his life; Works whose common feature is the critical design of social issues in various theater formats.

Kamgari started his writing activity in the 1360s with short stories and then turned to playwriting.

In his note on this collection, Naseh Kamgari wrote about his career as a dramatist, his view of playwriting and the lived experiences that have influenced his artistic worldview:

"This collection covers twenty-five years of my playwriting career, published in seven different books over the past twenty years and now rare. Even if I include the unfinished plays and the collection of stories "The roof of this house is short" which have been published and "Sharab Nazri" and "Attar Tature" which are the second and third collections and have been transferred to the unknown future of publication, as well as scripts, articles and notes, it will not be a large cluster. This is not the result of laziness, or the fact that I have been punished for the frankness of my tone, but perhaps it is because I have not been content with writing and I have devoted some time to directing and designing scenes for other people's theaters. In any case, most of my life has been occupied with theater, which I replaced the struggle for a living in the industry, because my fascination with the world of theater led me to design machinery and rush to theater practice sessions. I also wrote the first stories and plays during my industrial activity, including the story "Hog" which was selected in a contest and my first book. The rest is the achievement of the time when I had a heart for professional theater, but if I sacrificed the honor of my pen and step and its fame...

Undoubtedly, the more learned and cultured the audience of the theater becomes, the more difficult it becomes to arouse the tentacles of their thoughts and feelings. I, however, eased my imagination from the very first years of playwriting and assumed the audience of my works to be meticulous and insightful people; Those who pull our hair. So I considered writing a play to be like tiling in Iranian historical buildings; Scraping and grinding words piece by piece and putting the pieces together bit by bit. I would like some concepts and meanings to remain hidden in dialogues and scene orders and be revealed over time, even if following this method and adhering to such a script causes some moments of my plays not to be understood and received by the common people or to be hastily measured and superficially evaluated. Sometimes the border between narrow-mindedness and revelation in works of art is as thin as a hair's hair, and distinguishing and recognizing the originality of the work requires an informed and tested mind. In addition to this point; Basically, the play should be read by someone who has the power of theatrical imagination, who can visualize the unwritten actions and behaviors created by the actor on the stage in the whiteness between the written lines.

Although the play is included in the category of "literature" with the adjective "performance literature", the play is in essence contrary to the story, the novel and the story, which are complete works of art, because the play is perfected with "performance" and before that, it is an instruction for the actor, director, designers and other agents, it is a plan on the basis of which they build, and the evaluation criterion should be how much it is possible to produce a coherent and solid architecture on the stage. does

The intersection of adolescence with the revolution and the movement of reading books and the concern of activism, being a soldier in the war and socializing with mostly rural youth, working in industrial environments for more than a decade, simultaneously working in short film cinema and amateur theater, then studying university degrees and socializing with the passionate student movement, and later working in a trade union in professional theater and two decades of teaching and interacting with today's young generation and immersed in the ups and downs of the times, all of them are unwanted satiety. which undoubtedly shapes my view on the ambiguous nature of life, society and art and should be reflected in the blackness of the lines and the whiteness of the spaces, so that if everyone finds something worthy of examination and analysis, it will be the responsibility of the audience of the book and the future residents of the theater. The future generations whom we now, with a dream and illusory melancholy, have entrusted our judgment to their favor and acceptance...

The book "Armaghan Purple Theater" in 630 pages and including 22 plays has been published by Asatir Parsi Publishing House.