1926), as well as his ʿAziz o ʿAziza at another venue, to high applause (Nafisi, pp. 51) together they performed Kamal’s “ʿAbbāsa, Ḵˇāhar-e Amir” (Abbaseh, The sister of Emir, 1930) at the summer theater of Jāmeʿa-ye Bārbod (est. In 1932 Shahrzad co-founded Kānun-e Ṣanʿati Art Group with Ḡolām-ʿAli Fekri, Ḥabib Etteḥādiya, Moḥammad Šams, ʿAbd-al-Ḥosayn Nušin, and Lauretta and Maryam Nuri (Oskuʾi, p. His repertoire of plays in vogue, which were mostly adaptations of Molière’s plays and deliberated social problems, gradually gave way to historical romantic dramas and contributed to the development of drama in Iran as a commentary discourse parallel to the poetry tradition of ethical and moral reasons. The theme of a sculptor falling in love with the statue he creates, a recurrent motif in Western literature, was first introduced to the Iranian audience by Shahrzad’s play, and reappeared in variations in several subsequent literary works, including Nader Naderpour’s celebrated poem “Peykar-tarāš” (Šafiʿi Kadkani, p. His play “Mojassama-ye marmar” (Marble statue, 1929), a dramatic adaptation of George Bernard Shaw’s Pygmalion (1912), in which he played the lead role, garnered critical recognition and high popular success (Ārianpur, II, pp. Special mention should be made of his “Šab-e hezār o yekom” (1930), which was posthumously published in 1956 in Sepid o siāh, a literary magazine founded in 1953 by ʿAli Behzādi (1925-2010). The enormous success of Kamal’s adaptation of the One Thousand and One Nights stories marked a turning point in the history of modern Iranian drama. Kamal joined Anjoman-e Iran-e Javān in 1921, where he staged some of his plays, and sparked a revival of interest in classical themes and motifs (Fekri, p. Shahrzad, who was also familiar with musical arrangement and played setār, composed the music for the first production of Paričehr o Parizād himself (Jannati-e ʿAṭāʾi, p. The operetta, however, was staged repeatedly throughout the coming years to great applause. Having developed romantic feeling for her, Shahrzad dedicated Paričehr o Parizād to Āqābābov calling her the ‘Star of the East.’ The romantic relationship gradually turned into animosity due to conflict over the production rights. The lead role was given to Pari Āqābābov (1900-?), an Armenian artist who had just returned to Iran after completing theater studies in Europe. Within a few months he wrote his first musical for the stage, titled Paričehr o Parizād. Reza Kamal, motivated by a performance of the Āršin Mālālān operetta, staged by a Caucasian troupe in Tehran in 1919, established a musical theater along with his friends, Ḡolām-ʿAli Fekri, Mojtabā Ṭabāṭabāʾi, and Saʿid Nafisi, among others (Pākravān, P. Introduced toward the end of the 19th century, modern drama flourished in Iran in the first decades of the 20th century (Ghanoonparvar, p. This influence first inspired him to try his hand at translating the works of Romantic writers into Persian, but it is thought to have contributed subsequently to his eventual suicide at a relatively young age. He studied French language and literature and like many of his contemporaries was fascinated by French Romanticism. ![]() In 1911 he entered École Saint-Louis, the first French Catholic Mission school founded in Tehran in 1862 (Šarifi, p. He chose ‘Shahrzad’ as his pseudonym out of fascination with the famous storyteller in the One Thousand and One Nights (see ALF LAYLA WA LAYLA). Raised in a well-educated and cultured family from a venerable line of secretaries and state treasurers, he was introduced to classical Persian poetry in his early childhood. Reza Kamal was born to Mirzā Ḥasan Monši Bāši, known as Kamāl Al-Dowla, special secretary to Mirzā Yusof Mostowfi-al-mamālek (1227 Š./1848-9 to 1303 Š./1924-5). Tehran, 1 Šahrivar 1316 Š./11 September 1937), dramatist and translator.
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