New play written and directed by Bahram Beyzaie.Approximately year eighty of the Persian calendar. In a busy crossroads of Tehran, a woman and a man run into one another, torn apart by the events of the last fifteen years!Play is in Persian. Part of the Stanford Festival of Iranian Arts. **More information and ticket sales coming soon!
Join CAS for African Languages and Cultures Night! It is a celebration you don't want to miss. Come enjoy Amharic, Igbo, Swahili, Twi and Yoruba with students, professors, and friends! Students will perform skits, songs, and dances. Delicious Ethiopian food will be served.
Check out the photos from last year!
Join the Center for African Studies for our weekly lunchtime lecture series.
Speaker: Mark Fleishman, Professor of Theatre, University of Cape Town, South Africa.
Mark Fleishman is head of Drama at the University of Cape Town. He has contributed articles to journals and chapters for books but the main body of his research has been realized through production. He is a director of Magnet Theatre, has created 18 new works for the company over 20 years, and is involved in a number of projects in urban townships and rural communities.
Drawing on his recently published book Terror and Performance, Rustom Bharucha will probe the modalities and enigmas of the dangerous liaisons between terror and performance. In this lecture, the ideas of performance will extend beyond theatre practice to encompass four primary sites of investigation: September 11th; Islamophobia; Truth and Reconciliation in the larger contexts of post-apartheid South Africa and post-genocide Rwanda; and Non-Violence vis-a-vis the political practice and philosophy of Mahatma Gandhi.
“The Chest of Damnation” combines comedy, music, and dance in a play inspired by a tale from Rumi. Some scholars have suggested that the story is in fact rooted in a tale from “One Thousand and One Nights.” It is the tale of a lustful judge and a conniving husband and wife, reimagined in the unique satirical language of Iraj Pezeshkzad and brought to the stage by the inimitable Parviz Sayyad.
Play is in Persian
Gabriella Safran, “When Is Vocal Imitation Mockery? Comedy and Ethnography on the 19th-Century Russian Stage”
In the intervals between longer plays, mid-19th-century Russian actors performed comic monologues and dialogues featuring the encounters between people from the empire’s many ethnicities and classes: a peasant earning money in the city as a factory worker goes to the doctor; an Armenian buys a train ticket; a Jewish boy takes an oral exam to get into high school.
Nina Ergin, “Ottoman Patrons of Sixteenth-Century Mosques in Istanbul and Their Qur'anic Recitation Programs”
The architectural form of the mosques built by Mimar Sinan clearly reflected to contemporary viewers from within Ottoman culture the status and wealth of the respective buildings’ patrons. Not only the quality of construction materials and the level of sophistication in the craftsmanship displayed in the architectural details and furnishings, but also the presence and number of domes and minarets established a hierarchy based on a certain “decorum,” as expressed by the art historian Gülru Necipoğlu.