The Joy of Watching Professionals on Stage: How Does 'Jazireh' Defend Authentic Theater?

'Jazireh' is one of those productions that needs no fanfare to prove its worth. Its importance lies in the quality of its components and the interplay among text, acting, set design, and music.

Guest note - Sara Faraji, media activist; These nights in the Chaharsoi Hall of Shahr Theater, there is a show on stage far away from advertising and Instagram noises, which may be considered one of the best performances of Iranian theater in the last decade; A performance that somehow reminds of the return of professionals and classics to the stage. At a time when many work on the stage simply by claiming to be theatrical, and sometimes among a multitude of formal experiences, visual effects and big claims, what is less visible is the theater itself; An art that depends above all on the text, actors, mise-en-scène, music and a deep understanding of the possibilities of the stage.

The play "Jazeera" is written by Athol Fugard, a prominent South African playwright, translated by Mohammad Hafazi and directed by Akbar Zanjanpour. The story of the show is about 2 prisoners named John and Winston who are rehearsing a play in an exile camp located on a remote island and during this rehearsal they talk about the memories they have had with each other over the years as well as other topics such as life, theater, hopes and dreams.

In addition to directing and acting, Zanjanpour is also in charge of stage design in this performance. A combination of responsibilities that does not affect the overall uniformity and coherence of the implementation. "Jazeera" is one of those performances that doesn't need hype to prove its credibility, and its importance should be found in the quality of the components and the ratio that has been established between the text, acting, stage design and music. Watching such a performance once again raises the question of what is genuine theater and what distinguishes a stage performance from a collection of seemingly innovative movements, images and claims.

The answer must be sought in the performance itself; In a narrative that knows its path, the actors who dominate the stage and the elements that are each placed in their right place. "Island" is an example of "theatre as theater"; A performer who takes advantage of the fundamental capacities of this art instead of resorting to external tricks to attract attention. Here, the text is not an excuse to show the director's ideas, the stage does not become a showcase for showing technical possibilities, and the actor does not lose his place in the midst of a multitude of executive preparations. Everything is in the service of a whole that is formed from the heart of the narration and the live encounter of the actors.

Choosing a text by Athol Fugard is also important. Fugard is one of the most important South African playwrights, whose works are known for their attention to power relations, difficult human situations, and moral tensions. In his dramatic world, the characters are placed in situations where their behavior, speech, and relationship become the main elements of the drama. In "Jazeera", 2 prisoners take refuge in rehearsing and performing theater in the midst of oppressive conditions; An action that gradually goes beyond a dramatic activity and acquires an existential meaning. In this situation, theater is not a way to pass the time, but an attempt to preserve identity, resist human erosion, and keep the possibility of freedom alive. In this way, the show points to the vital role of art in difficult and oppressive conditions; Where performing becomes an action for survival and resistance.

The performance style of "Jazeera" is based on a realistic approach; An approach in which believability of human situations and relationships is important. Thoughtful stage design and the use of multimedia facilities are also at the service of this realistic world. In this performance, multimedia does not replace the actor or narration, but rather helps to expand the dramatic space. The result is a performance that balances fidelity to the text and the use of contemporary facilities, using it to enhance the audience's experience rather than displaying technology.

Akbar's performance in Zanjanpurama is one of the most important features of the performance. His presence reminds us of the importance of experience, knowledge and mastery in acting; Qualities that are not acquired by pretension or imitation of common patterns. Professional acting is the result of knowing the text, understanding the situation, controlling the body and voice, and the ability to communicate accurately with other elements of the scene. Zanjanpour comes from a generation in which acting was not just performing a role, but was considered a part of theater knowledge and culture. His mastery of expression, rhythm, and performance detail gives the scene a weight that cannot be replaced by exaggeration or external display of emotion. Along with him, Saeed Dakh also contributes to the formation of theatrical relationships and the advancement of the narrative.

The stage design in this show is not just about building a physical space, but is part of the overall logic of the performance; A space that should match the rhythm of the games, the needs of the narrative and the atmosphere of the work. In "Island", the simplicity of the design and avoidance of unnecessary elements, along with the calculated use of visual facilities, help to form this uniformity. But one of the most prominent aspects of "Island" is its music and sound design; Elements that go beyond the audio accompaniment and play a fundamental role in the formation of the emotional and sensory atmosphere of the show. Music and sound design is by Arvin Fallah; Playing sound effects such as sea waves and the sound of seagulls during the performance also adds depth to the atmosphere of the show and brings the audience closer to the world of the story. These sounds are not just signs to recreate the environment, but gradually create the mental and emotional atmosphere of the work and make the position of the characters more tangible for the audience. As a result, the sound becomes a part of the narrative along with the music; An element that emphasizes the atmosphere of the show without the need for verbal explanation and expands the audience's connection with the dramatic situation.

The musical mood of "Jazeera" is reminiscent of a period in the history of Iranian theater that is still alive in the memory of many viewers; The eighties, a time when the works of people such as Thargyan and Chermshir were staged and you had to stand in line for hours in front of the city theater to get a ticket for a show... In those years, the city theater and its halls were one of the main centers of the capital's theatrical life; A space where serious texts, capable actors and performance experiences together made a part of the city's cultural memory. The reflection of that mood in the "Island" should not be reduced to nostalgia. The problem is to remember a kind of link between music, sound design, acting and dramatic atmosphere; A binding where each element becomes part of the display language.

The stage design, despite its apparent simplicity, is another strength of the performance. The use of video mapping helps to complete the visual world of the work; A technology that has not become an independent and self-presenting element in this performance, but a part of the overall composition of the scene. The importance of this choice is that new visual features serve the performance space without disturbing the balance of the performance. As a result, the simplicity of the scene does not mean a limitation, but becomes a platform for the measured use of visual elements.

This way of using technology raises an important question about the relationship of contemporary theater with new tools; Is the presence of technology in itself a sign of innovation, or does its value depend on the necessity it plays in the structure of the show? The answer should be found in its function. When video images can move along the design of the stage and help expand the performance space, technology becomes an effective tool in the service of the theater. But when technical effects are used only to cover the weaknesses of narrative or acting, the result will be nothing but distance from the essence of this art. In using video mapping, instead of sacrificing the simplicity of the scene for visual effects, "Jazeera" uses technology to complete it.

Despite the overall coherence of the performance, the second half of the show is much more spectacular and thought-provoking than the first half. In this section, the relationship between theater and life, between playing a role and facing the oppressive reality, becomes more concrete and deeper. The climax of this path is the performance of parts of the tragedy "Antigone"; A choice that seems to be a very correct decision in terms of drama and concept. "Antigone" by Sofkel, centered on the confrontation between the law of power and individual conscience, finds a meaning beyond a play within a play in the context of "Island". This classic tragedy links the prisoners' experience to an overarching question of power, resistance, and moral responsibility.

At this moment, the theater is no longer just the subject of the show, but becomes a tool to express the truth that is limited in the conditions of repression. The connection between the situation of the 2 prisoners and the world of Greek tragedy adds a new layer to the work and shows how a classic text can be revived and meaningful in a contemporary situation. The ending with "Antigone" is therefore the climax of the performance; The ending, which is both theatrically impressive and after the excitement of the scene subsides, provides a reason for reflection on the ratio of art, strength and resistance.

Finally, what makes "The Island" a remarkable performance is not a single feature, but the harmony and coherence between its components; A coherence that comes more than anything else from knowing the possibilities of the theater and avoiding unnecessary displays. At a time when the border between experimentation and pretentiousness and between innovation and showmanship is sometimes blurred, "Jazeera" highlights the importance of returning to professional standards. Theater needs new experiences to survive, but new experience alone does not create value without knowing the text, acting, mise-en-scène and stage logic. This performance reminds us that originality is not limited to the mere reproduction of past patterns; Rather, it is formed in the ability to consciously use theater elements to create a living and meaningful experience.