The Concept of Latent Dramaturgy in Contemporary Iranian Cinema

Abstract

Referring to the nature of the hidden in art one may rephrase the German philosopher Jean Paul: art brings out the hidden, or the obvious absence of it.The hidden as a concept in film dramaturgy can manifest itself at all levels of the story’s content. This article represents the mechanism of the hidden by the so called ‘‘latent’’ dramaturgy which is relevant to a serene, dormant style in pictorial art. So, many canvases created in the 17th-century during the Golden Age of Dutch painting, were termed ‘‘stilleven’’ insofar as they presented a kind of frozen, silent life of things. Terming this style as ‘‘latent’’ is most suitable for many films whose authors are not so much concerned with the dramatic twists and turns of the plot as with the impact of external conflicts on the inner world of the characters and their ways of dealing with life challenges. The style of latent dramaturgy is most obvious in contemporary Iranian films characterized by a matter-of fact tonality and deliberately muted emotions. The imagery and the entire meaning of the film are revealed in understatement. The concept of the hidden in Iranian films exemplified by latent dramaturgy is determined by the realities of Iranian society, by its bans, its censorship, Islamic ideology and many taboo subjects which lays the groundwork for resorting to undertones and parables. Additionally Iranian filmmakers draw inspiration from the rich heritage of the ancient Persian culture. Using the mechanism of the hidden, latent Iranian dramaturgy touches upon crucial aspects and mysteries of human existence. Without emotional expression and profound effects, just by dramaturgic means, Iranian films manage to arouse empathy.