This book discusses what it means to “perform the State,” what this action means in relation to the country of Iran and how these various performances are represented. The concept of the “State” as a modern phenomenon has had a powerful impact on the formation of the individual and collective, as well as on determining how political entities are perceived in their interactions with one another in the current global arena.

The result of collaborative research from noteworthy dramatists and scholars, this volume investigates the dynamic relationship between culture, performance and theatre in Iran. The studies gathered here examine how various forms of performances, especially theatre, have and continue to undergo change in response to shifting political and social settings from the antiquity to the present day. The analysis in this book focuses on performance practices, examining drama, texts, rituals, plays, music, cinema and drama technologies. This is done in order to show how Iran has been imagined through enactments and representations, and reproduced through these performative actions. The book uses a wider definition of the concept of 'performance', offering analysis of a wide range of phenomena, including indigenous rituals – such as the naqqali and taziyeh – and online performances by diaspora communities.

In this unprecedented book, Hamid Dabashi provides a provocative account of Iran in its current resurrection as a mighty regional power. Through a careful study of contemporary Iranian history in its political, literary, and artistic dimensions, Dabashi decouples the idea of Iran from its colonial linkage to the cliché notion of “the nation-state,” and then demonstrates how an “aesthetic intuition of transcendence” has enabled it to be re-conceived as a powerful nation. This rebirth has allowed for repressed political and cultural forces to surface, redefining the nation’s future beyond its fictive postcolonial borders and autonomous from the state apparatus that wishes but fails to rule it. Iran’s sovereignty, Dabashi argues, is inaugurated through an active and open-ended self-awareness of the nation’s history and recent political and aesthetic instantiations, as it has been sustained by successive waves of revolutionary prose, poetry, and visual and performing arts performed categorically against the censorial will of the state.

The surprising story of Iran's transformation from America's ally in the Middle East into one of its staunchest adversaries "An original interpretation that puts Iranian actors where they belong: at center stage."--Michael Doran, Wall Street Journal "For the clearest view of Iran for the last 100 years, this book is it."--Marvin Zonis, author of Majestic Failure: The Fall of the Shah Offering a new view of one of America's most important, infamously strained, and widely misunderstood relationships of the postwar era, this book tells the history of America and Iran from the time the last shah, Mohammad Reza Pahlavi, was placed on the throne in 1941 to the 1979 revolution that brought the present Islamist government to power. This revolution was not, as many believe, the popular overthrow of a powerful and ruthless puppet of the United States; rather, it followed decades of corrosion of Iran's political establishment by an autocratic ruler who demanded fealty but lacked the personal strength to make hard decisions and, ultimately, lost the support of every sector of Iranian society. Esteemed Middle East scholar Ray Takeyh provides new interpretations of many key events--including the 1953 coup against Prime Minister Mohammad Mossadeq and the rise of Ayatollah Ruhollah Khomeini--significantly revising our understanding of America and Iran's complex and difficult history.

Publisher description

These beautiful performance traditions have continued down to the present. They are aesthetically complex, subtle and uniquely reflective of Iranian culture and though enriching all Iranian cultural expression, including literature, art, architecture and film. --

The result of collaborative research from noteworthy dramatists and scholars, this volume investigates the dynamic relationship between culture, performance and theatre in Iran. The studies gathered here examine how various forms of performances, especially theatre, have and continue to undergo change in response to shifting political and social settings from the antiquity to the present day. The analysis in this book focuses on performance practices, examining drama, texts, rituals, plays, music, cinema and drama technologies. This is done in order to show how Iran has been imagined through enactments and representations, and reproduced through these performative actions. The book uses a wider definition of the concept of 'performance', offering analysis of a wide range of phenomena, including indigenous rituals – such as the naqqali and taziyeh – and online performances by diaspora communities.