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Collective Identity and Despotism: Lessons in Two Plays by Bahram Beyzaie

Author： Ghanoonparvar M. R.

Publisher： Routledge Ltd

ISSN： 0021-0862

Source： Iranian Studies, Vol.46, Iss.5, 2013-09, pp. : 753-764

Disclaimer: Any content in publications that violate the sovereignty, the constitution or regulations of the PRC is not accepted or approved by CNPIEC.

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Abstract

With an overview of identity as a dominant theme in Bahram Beyzaie's artistic creations, this article examines two of his, arguably, most political plays: Chahar Sanduq (Four Boxes, 1967) and Khaterat-e Honarpisheh-ye Naqsh-e Dovvom (Memoirs of the Actor in a Supporting Role, 1981) to examine his reflections on the nature, function, and vulnerability of collective social, political, and cultural identity in authoritarian societies. Both plays illustrate that the tyrannical rulers of such societies perpetuate their dominance over their subjects through exploiting the individual's self-interests, thereby isolating him and stripping him of collective and, inevitably, individual identity. Beyzaie's allegorical and rather abstract approach in these plays contributes to conveying a less topical, culture-specific, and more universal message.

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