Siavash Safari needs no introduction; a figure who can be considered a man of the stage and a passionate, powerful actor. His challenging and enduring performances in cinema, his technical and diverse roles in television, and his presence in home theater productions are part of the rich portfolio of this veteran actor.
Safari is one of the veteran actors of Iranian theater, known for his performances in plays such as "The Fox Hunt," "Memories and Nightmares of a Tailor..." and "Mississippi is Dying Sitting Down." In cinema, he has appeared in films like "Confessions of My Dangerous Mind" and "When Did You Last See Sahr?" and in television with series like "Mokhtarnameh" and "Mahyar Ayyar," as well as in home theater works such as "Hamgonah" and "At the End of the Night."
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Challenges of Today's Theater and the Voice of Artists
In an opportunity that arose, we discussed with him the current state of theater, economic and friendly relationships in acting, the entry of commissioned figures into the art scene, and the difficulties of staying in this profession; a candid conversation with an actor who still considers theater his main home.
Mr. Safari, you have the series "Asbād" on television and the play "Small Wishes" on stage. I want to start the conversation with the recent comment by Akbar Zanjanpour. He stated after 60 years of activity in theater: "If this is theater, may dirt be upon me for spending 60 years of my life on it!" What do you think this complaint and hint means?
It is regrettable that Mr. Zanjanpour, with his experience and status in the theater field, has reached a point where he makes such a statement. This indicates many problems that exist in our cultural and theatrical space. His reference is certainly correct, but I do not believe he has wasted his life in theater. His presence will never be forgotten, and audiences recognize his values well.
Disarray in the Artistic and Economic Space
However, his complaint is entirely justified; because we all know the existing problems. Theater must have a clear definition, and the audience should find its true place. This disarray is not limited to theater. We are witnessing such a situation in cinema and home theater as well. Even the audience has become fragmented. On one hand, strange and different performances are held in luxury spaces; spaces that are not fundamentally defined for theater performances.
Theater has a clear definition all over the world. For example, we have professional theater, commercial theater, and each of these has its own title and specific values. But now everything has become mixed up. The audience is confused and does not know what to expect when entering a theater hall.
Certainly, the economic conditions have also affected this situation. High costs of performances, advertising, and the presence of bloggers to promote theaters have pushed theater groups towards ticket sales. We have reached a situation where we can neither completely condemn it nor say it is the right thing to do.
Theater needs support. This is the case everywhere in the world. The government and cultural institutions must help theater so that this art can continue its healthy path without being harmed.
The play "Small Wishes," which you are currently performing, also has a social responsibility and helps underprivileged children. How do you think we can further facilitate such activities?
Honestly, this type of performance is not in my world. Even if a suggestion is made, I might be scared; because I do not know what the environment and conditions are. I prefer to move in the path that I know and have worked in.
In choosing cinematic and home theater works, the screenplay, role, and director are important to me. However, sometimes one has to compromise a bit on their sensitivities. I have encountered situations where I received a proposal, but the offered fee felt insulting. Sometimes just having a good screenplay is not enough; the conditions and perspective also matter.
