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The book "Reza Ghasemi in a long conversation with Mohammad Abdi"; Description of a difficult life

BingMag.com The <b>book</b> 'Reza <b>Ghasemi</b> in a <b>long</b> <b>conversation</b> with <b>Mohammad</b> Abdi'; <b>Description</b> of a <b>difficult</b> life

When we think about the drama workshop, we feel nostalgic. The longing for a lost blossoming experience, the brilliant people and talents who, along with the disappearance of that space, each one went from a corner, scattered, committed suicide, sank into themselves, chose a corner of solitude and migrated.

Reza Ghasemi, one of the best writers of the workshop, who, according to Bijan Safari, its manager, in the book of the theater workshop, written by Hamidreza Roimhari, flourished in a laboratory-like atmosphere where it was possible to cultivate all kinds of talents, he wrote brilliant plays and after his departure He created more honorable works for Europe, in a book titled "Reza Ghasemi/in a long conversation with Mohammad Abdi" he talked about childhood and adolescence, music, writing, loneliness, novels, leaving Iran, etc.

Mohammed After finishing the editing of the documentary film he made about Ghasemi, Abdi put the remaining hours of video interviews on paper and gave them to the audience so that they could get to know a writer who "is related to Sadegh Hedayat and Bahram Sadeghi in terms of the atmosphere and structure of his stories, but In the end, he is a writer apart from others with a very personal world that creates a strange world. (p. 11)

Qassimi, who spends more of his life in creating his works than any other Iranian writer, was proud of the inauthentic and artificial city and society that the oil company built to house its employees. A strange environment where workers from every corner of Iran were living and working together. In his youth he was a mass. He suddenly became religious and used to cry and repent from night to morning. (p. 25) Due to various concerns, he and his sisters were prevented from appearing in the street and in society in general. Radio, television, newspapers, etc. were forbidden in their home, and during childhood and early adolescence, he turned to it more, because "a person who is sentenced to solitary confinement is forced to think with himself all the time, and although he suffers, the possibility of solitude and It provides thinking." (p. 24) He experienced the Islamic revolution years before it happened in his father's house, after leaving behind all kinds of restrictions.

Qassimi opened his eyes to the world in Isfahan. He was brought to Bandar Mahshahr at the age of six months. He was proud in this city and after getting his diploma, he ran away from that city forever. He went to Isfahan. In order to stand on his own feet and support his living expenses, he brushes the collars and cuffs of clothes in the basement of a laundry. He came to Tehran to participate in the entrance exam. was accepted in the field of theater. After a year passed, his father found him, reconciled, and because he thought he was studying medicine, he paid for his education for a year. He, who had written a play before studying theater, taught Tasi by Anton Chekhov, a doctor, playwright and storyteller. After his father found out through his relatives that his son was studying theater and became a "singer", he shed tears for his ruined reputation and broke off his relationship with him. Thus began a difficult, strange and memorable period for Ghasemi. The money he saved from working in the laundry went to Ahvaz. He borrowed one hundred tomans from his uncle and reached Tehran. He went to college during the day and "slept on the couches" at night. I would buy a newspaper of the future and read it until I got warm and tired, and then I would put two or three pages under me and sleep. I used to put two or three sheets of it on top of us as bedding. In the winter, I had to find cartoons and sleep in the basement of the offices on Elizabeth Boulevard. In order to go to distant destinations, he used a trick to help his story writing: "I had promised myself that I would take a taxi and every time I would start to weave an impromptu story for the taxi driver. Then, when I got into a taxi, I immediately told the driver, look, I don't have any money. If you want, you can drop me off now. Once he said why, what happened? Then I started to weave stories" (p. 30)

Composition for theater, professional music

The young generation of Iranian book lovers often listen to Ghasemi with his plays and stories. but reading his memory of discovering his musical talent gives new information about his inclination towards music and creating lasting works by him: "One day, the physics teacher brought a box with two wires to the class. The class is over. I asked him to lend me the box. I brought it home. On the occasion when my father was not there, I made the sound of a santor with two pens. I felt that I had a talent in music there." (p. 109)

According to Ghasemi's narration, Iraj Anwar, the director of one of Arabal's plays, after seeing him play a melody with a bassoon during rehearsal, the facilities He provides him with the information he needs to learn music: "He said that the center of preserving and spreading music belongs to television. The drama workshop also belongs to television. Why don't you go learn the strings? Free Is. I said how good. But I don't have a money maker. With one hundred and fifty tomans, which was a tenth of the actual price of the instrument, I started to learn. I used to play the instrument for eleven hours a day." (p. 111)

Continuous practice and playing the instrument at gatherings and parties made him insist on his serious participation in music, the result of which was the Gol Sedbarg album. As Ghasemi says: "One day, Jalal Zulfanun told us to form a three-string group and play together. It had an advance. I had two or three songs. I had started composing for my theater works. For example, for Mahan Koshiar, it was a ballad that had to be read. Anyway, the music work started with Zulfonun. The German embassy offered a concert. The lady who was a singer in the group was not up to the level of professional performance. I said let's bring Mr. Nazeri. With his arrival, the work slowly started to take shape and... the album was ready. When we wanted to sell the work, the producer bought it for six times the price they paid for a cassette at that time." jpg">Theatre

Qassimi, who started his career with playwriting at the age of seventeen, was hired as an actor in a theater workshop, but after he felt that he was not an actor "I requested that they give me another job if possible. I became the production manager." (p. 96) His hope was to become a director who held a playwriting competition workshop for the first time and "I gave undated letters. I win. Arbi Avansyan liked the play so much that he suggested that I put the text on stage with his group. Terrible is something that can happen in any revolution, but after the revolutionary turmoil subsides, it hurts one's heart. Ghasemi, who staged The Room of Tamshit during the period of freedom at the beginning of the revolution, could not work for three years after the censorship began. In 1362, Mahan Koshiar and in 1365, he staged his last work, The Mystery of Mahyar Memar.

Leaving Iran

Qassim seven years after the revolution in Iran lived. But when he saw the pressures he endured in his father's house as a child and teenager, he rebelled. "They didn't give me any opportunity in my last theatrical work, which was the mystery of Mahyar Memar. They did not light. The technical workers were told to go on strike. After my protest, they restored a bit of light with a thousand miseries. A delegation came to visit. Workers ran to adjust the lights. I said no. In the middle of my conversation, one of the heads of performing arts, hit my chest so that you don't interfere." (p. 126) Thus, Ghasemi said to himself: "No, it doesn't help" (p. 127) and a month later, forever. He left Iran and settled in the suburbs of Paris.

Novel and Writing

Qassimi wrote a play, won an award and directed, but after leaving Iran And staying in Paris, he felt that playwriting is useless and he should avoid theater. But he, who is anxious and always has to move his mouth or smoke a cigarette to calm himself down, uses writing to not feel anxious and forget: "When I was writing a play, it took a month at first, and then, when I improved, it took a week to finish. It takes ten days. But fortunately, the novel lasts two or three years. During the whole period of writing Ramam, it helps me to be happy." (p. 58)

At the beginning of the fourth decade of his life, he surprised the Iranian literary community with the publication of his novels and promised the birth of an outstanding writer. Ghasemi flips to the audience. It grabs at the holes of the soul and mind and reminds us of the well of Babylon in which we are trapped." Abdi" is a collection of small narratives from various periods of Reza Ghasemi's life. It is a memoir full of readable descriptions and descriptions of meetings with the greats of Iranian theater. Bitter, full and informative.

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