The Situation of Performance Art in Iran, Past and Present

Abstract

Performance art in every region and country depends mainly on rules, customs, and beliefs of that particular society hence; this art enjoys diversity with respect to its forms and contents. In contemporary Iran, with the emergence of new artistic movements, performance art incorporated more academic and enlighten aspects. New mass media and modern visual medium such as light, sound, moving, and changing images, video displays as well as application of new signs and symbols are some of the special characteristics of the contemporary performance art in Iran. Moreover, the performance art in Iran is not merely related to the contemporary era rather it encompasses a large number of traditional representations that have been prevalent among common people with much meaningful rules. Its popularity among common people is also a conceptual art which conveys a content-based meaning in a more dramatic sense. For centuries, the tradition of performance art in Iran can be observed in the rules of Ta’aziehkhani (quite singing or passion play), Shamayelgardani (icon handling), Ru-howzi (performance on pool platform), Marekegiri (mono drama), Qhashoqhzani (spoon handling) and Aroosakgardani (puppet handling). Aestheticism relying on traditional performing method is also the outcome of taste and elegance of common people. These performances have more folkloric aspects protruding from humane institutions and blended with their vernacular beliefs. In the traditional method of performance art, performers mostly enjoy their own taste and style and use handy means for executing their roles. In contemporary Iran, traditional method along with modern theme has been widespread among people particularly in villages and small townships although these are not called as art. The present study is an attempt to study existing challenges to modern and ancient art traditions as well as aesthetic values attributed to each of them.