Muhammad Roozkhkkjsh; Fereshteh Razeghi
Abstract
This study is a mediatorof a case study of the private theater which seeks to explore some of the major socio-economic fields of art economics in Iran. Recently, there has been an increase in the number of people joining the theater community through academic or other routine practices. Despite ...
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This study is a mediatorof a case study of the private theater which seeks to explore some of the major socio-economic fields of art economics in Iran. Recently, there has been an increase in the number of people joining the theater community through academic or other routine practices. Despite the theatrical population growth, the infrastructure has not changed much; the facilities of the showrooms are just as low. Since early 1980s, the idea of the privatization of the theater and some of the other theatrical effects of Iran, became the "hegemonic idea",. Many activists accepted this. Governmental theater custodians had a glance to the private sector, to eliminate crisis because of showrooms shortage. Now, more than 20 private theaters have been operating alongside state showrooms in Tehran. Still there are some questions: could this program open a knot of Iran's overwhelming work? How do the activists and "stakeholders" evaluate the experience of the field? The research attempts to answer questions on the basis of revising the views and evaluations of the theater activists, but understanding the "private activity of the theater" as a category of art economics requires an understanding of the more general social relations. The article attempts to analyze the "private theater in Iran" in the context of the socioeconomic transformation of the last two decades of Iran. It shows the reflection of the socioeconomic problem during last two decades. One consequence of this trend is to establish "private showroom" instead of "private theater".
