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A Manifesto for Years of Oblivion


Related Work :


A Manifesto for Years of Oblivion
Saleh Tasbihi | Writer and Art Critic

“Come Closer, Come Closer, Even Closer”, as a perfect work of art, can be considered a firm manifesto for years of oblivion. For the years in the passage of time, those coming enumerate its characteristics and features one by one and we call it “Our Period” and they call “Years of Oblivion”.
How should we create a social art that is the reflection of its period events despite the fact that in these years of oblivion and affliction any word, according to Hafez’s method and manner, must be said in fourteen narratives (many ways)? This, however, becomes possible by watching Mohammad Parvizi’s new work of art.
As a writer and teacher in the field of art, Mohammad Parvizi has always adopted a slow and precise, trimmed and theoretical policy and trend in his former works, whether in performance or other fields. We knew him as a “writer who does artistic activities” and his former works (such as Imagination Lady play) was very much interpretive of his opinions in his numerous articles and writings. Creativity, audacity and innovation were placed in subsequent levels.
Now in the winter 1391 (2012-13) we suddenly confront with a totally different work in which, according to what said at the beginning, we observe the hardest function of art, that is to say the record of the characteristics of our period:
Ambiguity: The ambiguity you face at the beginning of entering the work is completely directed to prepare the following explicitness. Brilliant music and perfect play of Atena Eshtiyaghi in white wedding dress sitting on perfect countenance of Pegah Ahangarani is not the endless tune of a melody. It is the repetitive narration of stories Pegah recounts, that is both herself and the other one in her role. She asks and answers herself and beside these, it is the addressee who climbs up and down on all the boards and scaffolds. Addressee’s walking in the work is in itself a part of the performance. The chirp sound of boards and the player’s monologue and violin sound, in constant interaction with each other, prepare the surrounding for entering the next station.
Walking: Walking is the human’s first means for moving and participating in the environment. The artwork designer intelligently applies this simple opportunity to engage his addressee from the very beginning. He has forecasted and devised a long vestibule, a covered staircase and local lights in order to place him from the beginning under a pressure that is the essence of the work. Black fabrics like blindfolds and red annoying lights make walking, this human’s simple action, worrisome and stressful.
There is even a devised platform to go up and down. It’s you alone in the queue one, in a passageway in which going and association, shoulder to shoulder, is not possible. You walk and walk. The work vestibule can be likened to an endless hall in closed communities where man always feels himself in. And according to rules written at the beginning of the exhibition, there is no way to return and one should endure. He should walk and walk and expect something better to happen.
Return: But returning to the first environment reveals the vanity of this hope. That white-worn player, similar to death violinist or life angel (it makes no difference here), is seated and playing till eternity. And again, you confront a face that is descending into cold from a smile or an amorous appointment. In the picture on the ground, there is a lover woman whose love is fading. Cold makes her old and extremely exhausted. She cracks and it seems as if these conditions and the relentless rush of occurrences fragment her suddenly and succumb.
Verbosity: In walking and hiking in this endless vestibule, the player’s voice is always heard and we see his picture everywhere. The style of film editing is also based on this multiplicity. This intentional verbosity results in the addressee’s anxiety and his nerves’ jangling. Here verbosity is distinguished not as the artist’s mistake but as a careful and controlled tool on his behalf. In other words the designer has deliberately attempted to have verbosity so that to emphasize on the inner tension of the work. Although they are repeated on a light music background, different sounds and the intersecting sections of the picture are with you until the end of the work and do not let you feel comfortable. In this respect we can consider the realistic aspect of Parvizi’s artwork distinguished and outstanding. This verbosity is quite familiar in Iranian society: the fear caused by empty space and giving opinion on anything, putting people under pressure to change their minds, taking and talking, turning up music and TV simultaneously, and talking and shouting of a group’s members near each other are characteristic of our current days. This verbosity in the repetition of pictures for the main slap and final loud shout is the conductor instrument.
Explicitness: When faces, among uniform squares set on each other, talk and shout nervously and impatiently, just see the house of detection and the arrested person in prison clothes so that everything is expressed very explicitly and precisely like staring at the sun.
All the preliminaries are used to express the essence of the work. The artist has not devoted himself to details at all and has considered a familiar role for a renowned actor who beyond his political appearance plays the role of an investigator and a prisoner. The role, by picking up a phone like that of prison, is cut and he talks to you and tells you friendly about his trouble. The amorous text of previous monologues changes into an arrested guy’s defense. It is not possible to talk about an apprehension more explicitly than this and send a message for those coming that what was going on in 1391 (2012-13) Iran and what happened.
But let’s go beyond this and observe the behavior of the investigator and prisoner in our individual lives. How long is going to last facts like these: our answer to each of the everyday accusations we bring against ourselves; the pressure we put each other in; and the accusations which only in the Appointment Time, face to face, even behind the window, whatever it will be, it is familiar and can be transformed into agreement and consonance, but there is no sign of its presence among others. How much should we investigate each other? This investigation is in fact a restatement. It is the accusation and exemption of oneself too and not only confined to prisons.
It seems as though I am falling in love again: In the last vestibule which is long and tortuous, the final interspace happens. “It seems as though I am falling in love again” and the last light and contemplative tune offload all the pressure in the final long way. The artist offers a familiar oriental solution to us. In coming closer, and closer, even closer than where you are it seems as if Hafez, among all these pressures and individual and collective separations and disconnections in a narrow dark red passage, appears and says: your love will save you …

بیانیه‌ای برای سال‌های فراموشی صالح تسبیحی | نویسنده و منتقد هنری «نزدیک‌تر بیا، نزدیک‌تر... نزدیک‌تر از این؟» می‌تواند به‌عنوان یک اثر تمام و کمال هنری، بیانیه‌ای محکم باشد برای سال‌های فراموشی. برای سال‌هایی که از چرخش روزگار، آیندگان مشخصاتش را یک‌به‌یک برمی‌شمرند و ما آن را «دوران ما» می‌نامیم و آن‌ها سال‌های فراموشی. این‌که در این سال‌های فراموشی و تلخکامی؛ در سال‌هایی که هر حرفی را به طرز حافظ باید در چهارده روایت گفت و از صراحت پرهیز کرد، چگونه باید هنری اجتماعی خلق نمود که بازتاب وقایع روزگاران خود باشد، با تماشای اثر تازه‌ی «محمد پرویزی» ممکن می‌شود. او به‌عنوان یک نویسنده و معلم در حیطه‌ی هنر، در آثار پیشین خود، چه نمایش و چه حوزه‌های دیگر، همواره رَویه‌ای آهسته و دقیق؛ پیراسته و نظریه‌پردازانه به خود گرفته بود. ما پرویزی را به‌عنوان «نویسنده‌ای که کار هنری هم می‌کند» می‌شناختیم و آثار پیشین او
(هم‌چون نمایش «بانوی خیال») تا حدود زیادی ترجمان نظریات او در مقالات و نوشته‌های بی‌شمارش بودند و خلاقیت و جسارت و نوآوری در درجات بعدی قرار داشت. اکنون و در زمستان نودویک، ناگهان با اثری سراسر متفاوت روبه‌رو می‌شویم که براساس آن‌چه در آغاز گفته شد، می‌توان سخت‌ترین کارکرد هنر، یعنی ثبتِ مشخصه‌های زمان ما را در آن خوانش نمود: ابهام: ابهامی‌که در آغاز ورود به اثر با آن روبه‌رو می‌شوی، تمام و کمال در راستای زمینه‌سازی برای صراحت بعدی ا‌ست. موسیقی درخشان با نوازندگی بی‌نقص «آتنا اشتیاقی» در جامه‌ی سفید عروسی، برنشسته بر فراز تصویر کامل چهره‌ی «پگاه آهنگرانی»، نوای بی‌پایان یک آهنگ نیست؛ تکرار مکرر داستان‌هایی است که «پگاه» تعریف می‌کند و در نقش خود، هم شخص خویشتن است و هم شخص مقابل خود. او خود می‌پرسد و خود جواب می‌دهد؛ و در کنار تمام این‌ها مخاطب است که روی تخته‌ها و داربست‌ها بالا و پایین می‌رود و راه‌رفتن مخاطب در اثر، خود، جزئی از اجراست. جیرجیر تخته‌ها و مونولوگ بازیگر و نوای ویولنسل، در بده‌بستان دائم با هم، محیط را برای ورود به‌ ایستگاه بعدی آماده می‌کند. راه‌رفتن: پیاده‌روی ابزار نخست آدمی برای حرکت و مشارکت او در محیط است. طراح اثر با هوشمندی، این امکان ساده را به کار می‌گیرد تا مخاطبانِ خود را از همان آغاز درگیر سازد. او دالانی بلند و پلکانی پوشیده با نورهای موضعی را پیش‌بینی کرده است تا مخاطب اثر از همان آغاز در فشاری که جوهر اثر است، قرار گیرد. پارچه‌های سیاه هم‌چون چشم‌بند و نور قرمز آزارنده، راه‌رفتن، این عمل ساده‌ی انسانی، را کاری پرتنش و دلهره‌آور می‌سازند. حتا در جایی سکویی تعبیه شده برای بالارفتن و پایین‌آمدن. این تویی، تنها، به ستون یک، در راهرویی که دوشادوش‌رفتن و معاشرت در آن امکان ندارد؛ و راه می‌روی و راه می‌روی. دالانِ اثر، می‌تواند به دالان بی‌انتهایی تشبیه شود که در جوامع بسته آدمی همواره خود را در آن‌ها احساس می‌کند و بنا بر قانون‌هایی که در آغاز نمایشگاه نوشته شده، راه برگشت هم ندارد و باید ادامه دهد. راه برود و راه برود و امیدش این باشد که اتفاق بهتری بیفتد. بازگشت: اما بازگشتِ دوباره به محیط اول، عبث‌بودن این امید را آشکار می‌کند. آن سفیدپوشِ نوازنده، مشتبه به ویولنسل‌نوازِ مرگ، یا فرشته‌ی زندگانی (در این مورد تفاوت ندارد) نشسته و تا ابد می‌نوازد و باز، با چهره‌ای روبه‌رو می‌شوی که از لبخند، از یک قرار عاشقانه، به سرما فرو می‌رود. در تصویرِ کفِ زمین، زنی ا‌ست عاشق؛ عشقش رو به زوال می‌رود، سرما او را پیر می‌کند و از پا می‌اندازد و ترک می‌خورد و انگار این شرایط است؛ هجوم بی‌امانِ رخدادهاست که به شکل خون دماغ، او را ناگهان می‌شکند و از پا می‌اندازد. پرگویی: در راه‌رفتن و پیاده‌روی در این دالان بی‌انتها، همواره صدای بازیگر شنیده می‌شود و جابه‌جا با تصویر او روبه‌روییم. سیاق تدوینِ فیلم هم بر این تکثر بنا شده است. این پرگویی تعمدی، دلشوره و به‌هم‌ریختنِ اعصاب مخاطب را در پی دارد. پرگویی این‌جا نه به‌عنوانِ اشتباه هنرمند، که به‌عنوانِ ابزارِ کنترل‌شده‌ی دقیقی از جانب او قابل شناسایی‌ است؛ یعنی طراحِ مجموعه به‌عمد کوشیده است پرگویی کند تا پرگویی و تنش درونی اثر را برجسته کرده و صداهای متعدد و برش‌های متقاطع تصویر، هرچند روی زمینه‌ی موسیقیِ آرام و سنگینی تکرار می‌شوند، اما تا پایان اثر آن‌چه می‌خواهد گفته شود، با تو همراه است و راحتت نمی‌گذارد. از ‌همین ‌روست که باز می‌توان جنبه‌ی وقایع‌نگارانه‌ی اثر پرویزی را برجسته دانست. این پرگویی در جامعه‌ی ایرانی امری آشناست. وحشت از فضای خالی و نظردادن درباره‌ی همه‌چیز، تحت فشار گذاشتنِ آدم‌ها برای تغییر افکارشان، گفتن و گفتن، بلندکردن موسیقی و صدای تلویزیون به شکل همزمان و حرف‌زدن و فریادزدنِ همه‌ی اعضای یک جمع در کنار هم، مشخصه‌ی این روزهای ماست. این پرگویی در تکرار تصاویر، برای زدن سیلی اصلی و برای بیان فریادِ بلندِ نهایی، در این اثر به شدت کارآمد بود. صراحت: وقتی میان مربع‌های اندازه‌ی هم، چیده‌شده بر هم، چهره‌ها ناهماهنگ، با کلافگی و عصبیت حرف می‌زنند و فریاد می‌زنند، فقط کافی‌ است که خودِ بازداشتگاه و شخص بازداشت‌شده را در لباس زندان ببینی تا همه‌چیز چون خیره‌شدن به آفتاب، آن‌قدر روشن و دقیق بیان شود. تمامِ مقدمات برای بیان جوهره‌ی اثر به کار گرفته شده‌اند. هنرمند در این ایستگاه اصلاً حاشیه‌روی نکرده و نقش آشنایی را برای یک بازیگر شناخته‌شده در نظر گرفته است که در ورای ظاهر سیاسیِ خود، هم نقش بازجو را بازی می‌کند، هم نقش زندانی را. نقش، با برداشتن گوشی، درست تعبیه‌شده هم‌چون گوشی زندان، برش می‌خورد و او با تو حرف می‌زند. دوستانه از گرفتاریِ خودش به تو می‌گوید. متنِ عاشقانه‌ی مونولوگ‌های قبلی، به متنِ دفاعِ یک بازداشتی تبدیل می‌شود و از این واضح‌تر نمی‌توان از یک دغدغه سخن گفت و برای آیندگان پیام فرستاد که در ایرانِ نود و یکِ شمسی چه خبر بود و چه شد. اما بیا از این منظر فراتر برویم و در زندگی تک‌تک‌مان رفتار بازجو و زندانی را خوانش کنیم. این‌که پاسخ‌دادن هرکدام از ما به اتهامات روزمره‌ای که به هم می‌بندیم، به فشاری که یکدیگر را در آن می‌گذاریم، اتهاماتی که تنها در «وقت ملاقات» دونفره و رودررو، حتی پشت شیشه، هرچه باشد آشنا و چشم‌درچشم است که می‌تواند تبدیل به همدلی شود و در میان جمع از آن خبری نیست، تا کی امتداد می‌یابد و تا کجای کار بناست از هم بازجویی کنیم؟ این بازجویی در واقع واگویه است. متهم‌کردن و مبراکردن خویشتن هم هست و تنها محدود به زندان‌ها نیست. انگار باز دارم عاشق می‌شوم: در دالان پایانی، که دالان بلندی هم هست و پیچ‌در‌پیچ، فاصله‌گذاری پایانی رخ می‌دهد. «انگار باز دارم عاشق می‌شوم» و نوای آرام و تفکربرانگیزِ نهایی، تمام فشار را در راه بلندِ نهایی تخلیه می‌کند. هنرمند راهکار شرقی آشنایی را پیش پای ما می‌گذارد؛ در نزدیک‌شدن. در نزدیک‌ترشدن. در نزدیک‌ترشدن از این‌که هستی؛ انگار حافظ است که در میان این‌همه فشار و از هم گسیختگیِ فردی و جمعی، در تنگنای یک دالانِ قرمزرنگِ تاریک، سبز می‌شود و می‌گوید: «عشقت رسد به فریاد...»