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Both feared their next works would be blocked because they feature, respectively, suicide and the true story of recent multiple murders in Tehran. The more fundamental restrictions, however, are cultural rather than political.
Synopsis of Chorus 1
But we're not allowed to touch one another, and we're not allowed to dance. Reyhani currently has one arm in plaster, and she and director Arvand Dashtaray used this in a dance piece or, to dodge the censors, "body theatre" in which a man and a woman flirt with the idea of touching one another. Eventually they do touch - but only through plaster. Some young artists are extremely impatient with these taboos, taboos that also deter international companies from performing at the festival.
Other more established practitioners downplay the censorship issue.
Speaking Listening Drama Years 1-2
These rules are frequently bent, if not broken. And many artists believe that restrictions inspire greater creativity. For most practitioners, the bigger problems are practical, not cultural. Iran has too few theatres, and too little money.
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From applications, the DAC funds no more than productions annually. And if you don't make that shortlist? As a result, many Iranian artists have concluded that the only way to make theatre pay is by appealing to the international market. This is a dysfunctional development, says Koohestani - not least because, having only recently been reconnected with world theatre after years of isolation, Iranian artists are ill-equipped to second-guess international tastes.
You lose both your audiences.
Theatres tend to be full in Tehran, but only because there are so few of them.
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