Review · Asre Nou
One performer above the rubble
Sedighi recognises Avar-e Eshq’s staging ambition while questioning the length and demands of its monologue.
- Credited to
- Ali Sedighi
- Publication
- Asre Nou
- Source date
- 1 February 2013
- Published language
- Persian
- This page
- English source guide
Works discussed
Original English editorial guide to the attributed Persian-language source. The critic’s interpretations remain theirs; the full source stays with its publisher.
A catastrophe becomes a confrontation
In his Heidelberg festival account, Sedighi describes Avar-e Eshq as Rabihavi’s play directed and performed by Soudabeh Farrokhnia. The husband lies trapped after an earthquake while his wife seeks help and confronts his conduct within their marriage. Source 1
The review appreciates the attempt to make the setting and direction theatrically engaging. The woman’s position above the rubble creates an opportunity to address the misogyny the critic sees within the marriage, giving the monologue a concrete dramatic pressure. Source 1
The pressure on a single voice
Sedighi also finds that the length of the text and repeated changes of voice exhaust the performer’s energy. His response therefore records both an ambitious staging and a reservation about the form it takes in performance. The criticism remains part of the play’s reception. Source 1
The audience award announced in the article’s headline belongs to a different Stoning, adapted by Majid Fallahzadeh from Fugard. It is not evidence that Rabihavi’s Stoning or Avar-e Eshq won that prize. The Rabihavi production and the awarded work remain explicitly separate. Source 1
Sources & credits
- Ali Sedighi · Heidelberg festival
Asre Nou, 1 February 2013. The Rabihavi passage discusses Avar-e Eshq. The audience award in the headline belongs to a different play adapted by Majid Fallahzadeh from Fugard.