- 2 days ago
Category
🎥
Short filmTranscript
00:00:00PYM JBZ
00:00:30دلمون نمیخواد اون شخصیت عذیت بشه اگه اشتباهی میکنه نمیخواییم کسی بفهمه و اونقد باهاش همدل میشیم که صدای قلبشو توی سینمون میشنبیم
00:00:44اون شخصیت دیگه برامون یکی دیگه نیست قریبه نیست اینجوری برای چند لحظه توی ذهن ی آدم دیگه زندگی میکنیم
00:00:59و شاید همین تجربه های کچیک همین لحظه ها ما را از خیلی از جنگ ها و دعوا ها نجات داده باشند
00:01:08بی این که خودمون حتی خبر داشته باشیم
00:01:13گذشته یا آینده
00:01:22اکنون
00:01:24سلام سلام سلام
00:01:26موسیقی
00:01:38موسیقی
00:01:42موسیقی
00:01:46موسیقی
00:01:48موسیقی
00:02:06موسیقی
00:02:08موسیقی
00:02:10Let me hear you.
00:02:12Let me start.
00:02:143, 2, 1, please.
00:02:16This is the song that I was singing in a series of his songs.
00:02:23It's called Farda.
00:02:26Farda is the time of this song.
00:02:33Because the song is Akinun, I thought it might be a combination between Akinun and Farda.
00:02:41I said it would be bad for you.
00:02:44Yes, yes.
00:02:45In the first time, there is a name called Berkhi,
00:02:49which is now a lot of relief.
00:02:51It was a relief.
00:02:53It was a relief.
00:02:55This song was 60-70 years ago.
00:02:57Berkhi, it was a lot of work.
00:03:01But in the real world, it had to be a mixture.
00:03:05It had a mixture of Farda.
00:03:07I said, Berkhi, I have to do.
00:03:09This song will be done in the last few years.
00:03:13I suggest this with a impression.
00:03:15This song worked.
00:03:17In my life, I had the mixture of Farda.
00:03:20I had the mixture of Farda.
00:03:23I had the strength of Farda.
00:03:27I had the cause of Farda'sONG 2019,
00:03:29۶۶۶۶
00:03:59۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶۶
00:04:29Dr. Ahmed Nazirzadeh Kermani.
00:04:33Dr. Ahmed Nazirzadeh Kermani.
00:04:37Dr. Ahmed Nazirzadeh Kermani.
00:04:45Dr. Ahmed Nazirzadeh, one of your parents and mother have come to you.
00:04:52How was your father Dr. Ahmed Nazirzadeh?
00:04:56Dr. Ahmed Nazirzadeh, one of your parents, and what was the effects you had?
00:05:05Dr. Ahmed Nazirzadeh, my father was a Kermani, a Kermani was very proven.
00:05:10Dr. Ahmed Nazirzadeh was very interested in Kermani, the Kermani, the Kermani, the Kermani.
00:05:18Dr. Ahmed Nazirzadeh, one of my friends with Kermani is still a part of your family.
00:05:23Yes, I was 6 years old, since I was 4 years old, since I was 6 years old, I was 6 years old, and I had a good time for my friends, I was in the heart of the world.
00:05:45Yes, you can tell me that the heart of the world is the heart of the world and the heart of the heart of the heart.
00:05:52I must express you, but my mom was not a farmer, my mom was a farmer,
00:05:57I was a's,
00:05:59she is a woman,
00:06:03she has one step of 300 a kilo,
00:06:07for instance from three years of footprints.
00:06:10My mom was mostly by the鑽s Fol 웅 하อน services.
00:06:16And she was theisincier,
00:06:20It was very...
00:06:21This language was very...
00:06:23For example, it was very...
00:06:24For those women who were very small
00:06:26They were very small
00:06:27This was how they were given a job
00:06:29And licensed
00:06:31In the year 2020, licensed...
00:06:34For a man
00:06:36Yes, yes, yes
00:06:37In a whole family
00:06:40With a whole heritage
00:06:42With books and books
00:06:45You were very big
00:06:47My father was a teacher of the doctor of Tehran
00:06:51and in the教会 of the divine and教会 of the arts
00:06:55he was teaching the arts of the arts
00:06:58and he was famous because he was a famous
00:07:01television show and he was a good actor
00:07:05and he was a good actor and a good actor
00:07:10and he was a good actor who was very happy
00:07:13he was a good actor
00:07:15I have a lot of people who are very happy with their own
00:07:19But they can't do something
00:07:21Because they can't do anything
00:07:23In a way of saying
00:07:25But they can't do anything
00:07:26And I have a father
00:07:28My father was in France
00:07:31And he was in a way of teaching
00:07:32And he was in France
00:07:34He had to prepare it
00:07:35So he had to do it
00:07:37And he had to do it
00:07:38And he had to do it
00:07:40And his experience was
00:07:42My father was in the way
00:07:44He was in France, but he always in the house with my father, Pushkin, who spoke with Russia.
00:07:53Wow, the conversation with Pushkin was the conversation with Russia.
00:07:57Pushkin is Russian, but my father had a good description of his work.
00:08:03And one of the two of us, Pushkin has one of the emperor in Russia.
00:08:08Pushkin is very close to a duel, and he can't be able to get out of it.
00:08:13There's a lot of people who have been in the fift.
00:08:15He can't go out of it.
00:08:17And Russia was a really strong ally because it was the 40th century.
00:08:23I've always had 30 and 40 years since the Duel.
00:08:27A duel, a bit strange.
00:08:29It's like the Duel.
00:08:32It's the Rift.
00:08:34The Lormantov also has been in the duel.
00:08:37The Lloris Galva Riyazi Dain also has been in the 18-19 years.
00:08:42I mean, a lot of people...
00:08:45Christopher Marlowe,
00:08:47which could be the second English
00:08:50and the other side of the duel,
00:08:52the few of whom I think,
00:08:54were the judges.
00:08:56And one of them was a woman,
00:08:58was the one who was given.
00:08:59So,
00:08:59the honor,
00:09:01the honor,
00:09:03the war was the war.
00:09:05It was better to go to the duel,
00:09:08from the duel.
00:09:08Do you know what the idea was?
00:09:09Yes, yes.
00:09:11However, in Pushkin, I have a little bit of an image that I have used to do
00:09:15and one image that I have used to be more than one.
00:09:18This is an example of an image of Shakespeare.
00:09:21It has a lot of influence on Shakespeare.
00:09:23But no matter how much of this image is,
00:09:25the image of Shakespeare's history is less than anything.
00:09:29In fact, it is very good.
00:09:31If a man was born,
00:09:33if a man was born,
00:09:35when he was born,
00:09:37the art of Russian art,
00:09:39the art of Russia was very high.
00:09:41It was a bit of a bit.
00:09:43Yes, it was a bit of a bit.
00:09:45Because one of the art, two of the art,
00:09:47and the art of Russia was born.
00:09:49Like Shakespeare,
00:09:51I was a very good singer.
00:09:53And I was a very good singer.
00:09:55I was a good singer.
00:09:57I was a good singer.
00:09:59I was a good singer.
00:10:01And I was a good singer.
00:10:03How did you have been?
00:10:05I was a good singer.
00:10:07I was a good singer.
00:10:08You could sing that a year.
00:10:09I was a good singer.
00:10:11That was two years later.
00:10:13Yeah, I was very good.
00:10:15I figured it out.
00:10:17A lot of difficulty was covered.
00:10:19I was very happy.
00:10:21It was very loud.
00:10:23Yeah, that's very much.
00:10:25But I had a good singer.
00:10:27I could talk a lot about it.
00:10:29But I had a voice I had the heart of it.
00:10:31I think that's a very good...
00:10:33Yeah, that's a good question.
00:10:35True...
00:10:37That doesn't mean that the way I was kinda confused now.
00:10:39So I think this was bad for you.
00:10:41I haven't seen it?
00:10:43No, I don't know that because I wasn't aware of this...
00:10:47In a moment, I was on a long-term...
00:10:49that I didn't know.
00:10:51In my head, I wassymbols as the best.
00:10:53I couldn't find myself.
00:10:55That was bad.
00:10:57The badness was bad.
00:10:59Yes.
00:11:00Well, in a moment, what do you want to do with the theater and performance?
00:11:13What books do you think?
00:11:16What books do you think?
00:11:18When I was in my life, I had a big story.
00:11:23I heard a lot of stories.
00:11:25Why did I hear a lot of stories?
00:11:27My father was from the director of the University of Mstaffi.
00:11:32He was hired by Dr.Mustadag.
00:11:35He was called by Dr.Mustadag.
00:11:37He was then here because of the university.
00:11:39The university was given by BAFTA, to Singapore and to Singapore.
00:11:42I am telling you about why Dr.Mustadag would want to expand the community.
00:11:47The person who had been in the university by the university,
00:11:50had been replaced by the university.
00:11:52They had been successful in English.
00:11:53Therefore, with this university, it is not so much.
00:11:56And the actors who wanted to be able to do that,
00:11:58they wanted to be able to get rid of them.
00:12:00And it was also an issue that he had to do that.
00:12:03When I was a 2-year-old, I was a victim.
00:12:07After that, the government had been killed.
00:12:09And my father had to do that.
00:12:11Because of that, it was a system of a system.
00:12:13It was an example of a system of a system.
00:12:16And my friends came to the house.
00:12:18Like the 60s, they came to the house.
00:12:20They came to the house and they came to the house.
00:12:22They came to the house and they came to the house.
00:12:24And they came to the house.
00:12:26I got a lot of my father, I got a lot of my father.
00:12:32I got a lot of my father.
00:12:36My father, because I was a professor of the field,
00:12:39I got a lot of books.
00:12:41There was a book that was written in the history of the Sifawiyah
00:12:43of Abbas Iqbal-Ashdiyani,
00:12:44which was a book of Sifawiyah,
00:12:46which was a big one of Iran.
00:12:47It was never a book that was written.
00:12:49There was a book that was written in the history of the Sifawiyah.
00:12:54It was a book that was written in Sifawiyah,
00:12:57I would like to learn this to be awriter.
00:12:59But here I would like to wish that this battle could be seen.
00:13:03And that when you read the script was published,
00:13:07it would be very few of them.
00:13:11This is the story of a Plane,
00:13:14Where Bessmark has been accomplished.
00:13:17The idea of a Jr. Amir,
00:13:21I'll show you the story.
00:13:22I'll show you the story.
00:13:23Yeah.
00:13:24It's like that.
00:13:25Yeah.
00:13:26It's like, yeah.
00:13:27That's amazing.
00:13:28I know.
00:13:29It's amazing.
00:13:30I love that.
00:13:32That's amazing.
00:13:34It's amazing.
00:13:37It's amazing.
00:13:39It's amazing.
00:13:41It's amazing.
00:13:43It's also amazing.
00:13:45It's wonderful.
00:13:47It's amazing that Shakespeare was a history of the program.
00:13:50It was this one, in England, and they were living in one direction.
00:13:55They were in Iran, and both of them were in Iran.
00:13:59Shah Abbas could be able to make a renaissance in Iran.
00:14:02It was a lot of further in this work.
00:14:04But it was a very nice place, and it was a very nice place,
00:14:07which was the last one.
00:14:10I would like to ask a question here, because I would like to ask a question.
00:14:15But it was a question that the professor, the professor, the professor of Kermani,
00:14:22will teach a learning and practice.
00:14:25And even in this case, you can see that in this period,
00:14:30that was in Iran, the English was in Iran, and in the English,
00:14:36and the situation they had with them.
00:14:39It was a very nice place.
00:14:41We looked at Aristotle Art of Keeb?
00:14:47It was an Okabash Ashti.
00:14:50And the story of Abbas is also this,
00:14:52which was seen by Abbas and Abbas.
00:14:54I would like to allow the author of Eqbal Ashti.
00:14:57Because it was an example of the author of Abbas,
00:14:58that it was extremely fulg X.
00:15:00And the one who was a commonplace with that,
00:15:01this was really a myth that she was the most famous in the time of Abbas.
00:15:04Our wealth had already been created.
00:15:06It was a man who has been a long history since it was a long history that it could have.
00:15:09He was a man who had some kind of philosophies
00:15:13They did a lot, they did a lot, they did a lot
00:15:16By the way, maybe, because I'm not a lot, I don't know
00:15:20Maybe there was a lot of pressure on Abbas Iqbal-Yachitani
00:15:26The issue of Abbas was very hard.
00:15:30And as soon as I go to the museum of the world of Esfahan,
00:15:35in comparison to this museum,
00:15:39and the buildings that have been built in this museum,
00:15:43it is actually more than a surprise.
00:15:48For me, as a person who is Esfahan,
00:15:52every time I go to the beginning,
00:15:55I will give up and give up.
00:15:58It is really just a sense of work.
00:16:01I mean, I think I think Esfahan came from the museum.
00:16:04Because this whole way,
00:16:06in the view of the museum,
00:16:08is a lot of attention from the museum.
00:16:10It is a lot of attention from the museum there.
00:16:12There is a lot of attention from the museum.
00:16:14There is a lot of attention from the museum.
00:16:16There is a lot of attention from the museum.
00:16:18And I can't see it.
00:16:20I am going to give up.
00:16:22Why are you doing this?
00:16:24Why does the museum do not have access to the museum?
00:16:26Then I saw that the artist who made it was so sad that he thought that the bazaar
00:16:32from the time he was behind the door to the temple to the temple to the temple
00:16:36to the temple to the temple with a few times of the temple.
00:16:39That the thought of his mind will bring his mind to his mind to his mind.
00:16:43Of course.
00:16:44I think that the thought of the artist who made it.
00:16:47There is an article from Andre Maldreau who is a writer and
00:16:53and the president of France was in the same direction.
00:16:58He said that he was in the same direction of the world.
00:17:00It's about three cities in relation to Malraux, Venice, Florence and Esfahan.
00:17:09Yes, yes.
00:17:10This city is a paradigm of paradise.
00:17:14There are many of the artists who...
00:17:16or the artists of France who would like to speak better.
00:17:21Marco Polo, these were the most famous
00:17:25When they came to Iran
00:17:29And they were the Italian
00:17:32They were very impressive
00:17:33The city of Esfahan
00:17:35And it was the first city of Esfahan
00:17:37The city of Esfahan
00:17:41The city of Esfahan
00:17:44The city of Esfahan
00:17:51I want to say something about this
00:18:18I will give you an idea of a
00:18:19a
00:18:19a
00:18:20a
00:18:21a
00:18:22a
00:18:23a
00:18:24a
00:18:25a
00:18:26a
00:18:27a
00:18:28a
00:18:29a
00:18:30a
00:18:31a
00:18:32a
00:18:33a
00:18:34a
00:18:35a
00:18:36a
00:18:37a
00:18:38a
00:18:39a
00:18:40a
00:18:41a
00:18:42a
00:18:43a
00:18:44a
00:18:45a
00:18:46a
00:18:47a
00:18:48a
00:18:49a
00:18:50a
00:18:51a
00:18:52a
00:18:53a
00:18:54a
00:18:55a
00:18:56a
00:18:57a
00:18:58a
00:18:59a
00:19:00a
00:19:01a
00:19:02a
00:19:03a
00:19:04a
00:19:05a
00:19:06a
00:19:07a
00:19:08a
00:19:09a
00:19:10a
00:19:11a
00:19:12a
00:19:13a
00:19:14a
00:19:15a
00:19:16I think it's a great job.
00:19:18In India, the robot is being invaded
00:19:20which they are operating in Iran.
00:19:22And they are very harshly.
00:19:24There are very many people who are living in China.
00:19:26One of the most important things I have
00:19:28is to use to keep these days.
00:19:30I think it's a way to keep these days.
00:19:32Because in a mess of war,
00:19:34it's a fight to avoid the war.
00:19:36It's a war, it's a war,
00:19:38it's a war, it's a war,
00:19:40and the war was being shot.
00:19:42It's not a war that was happening
00:19:44Sponsored by boys,
00:19:45if they come from the past and whether their family is a place,
00:19:47they have to make a rebellion and after they have to make a room,
00:19:51especially if they have a refugee, they have to make a city.
00:19:54They have to give themselves some sense of their own dignity.
00:19:57This is an opinion of our own.
00:19:58They have to give up the racialarson and theirυanism.
00:20:01They have to make a room and make a room for it.
00:20:03And because those women talk about their own Footballer,
00:20:05they have to beat them the most and more than they give up their ownенить.
00:20:07But at this point in thisento
00:20:37Even though it was a dream, it was a dream
00:20:43It was a dream, it was a dream
00:20:47Yes, I would like to thank you
00:20:50The third time of my time was Lang Lang
00:20:54He came to Iran
00:20:56He came to Iran
00:20:59He came to Iran
00:21:02He was one of Asfah
00:21:05He was a man
00:21:07He was a man
00:21:09He was a man
00:21:11There was a man
00:21:13He had a man
00:21:15Problem he had
00:21:17He had a man
00:21:19He had been out
00:21:21He had a man
00:21:23He had a boy
00:21:25He had a man
00:21:27He had some
00:21:29He just said
00:21:32... in front of aそうですね
00:21:35... and Ray
00:21:37... and Ray
00:21:38... and Ray is a great guy
00:21:43... and he did that
00:21:45... and he was very very good
00:21:47... and thebecues of the 택
00:21:55... and the way he was
00:21:58One of them was the first one of them was the Razi Ha.
00:22:03The Razi Ha would be in front of the Lashkar Mugul.
00:22:06Because the Shia Ha and the Sunni Ha are very different from them.
00:22:10And the Sunni Ha and the Shia Ha would be in front of the Shia Ha.
00:22:14And they would say to them that they would come to help us.
00:22:18We would be able to fight the Shia Ha and the Shia Ha would be in front of us.
00:22:24I would say that this is the history of the Eirons.
00:22:28After all, they don't want to know the representation of Rea
00:22:32because they're worried about the получить
00:22:38But they think that this is an obstacle
00:22:43When they come back and recruiting Rea
00:22:46They tell me if we were here 400-500 years ago
00:22:52Which was it that we could make a foreign language,
00:22:55or we could make it to our side?
00:22:58What was it that you could make it to us?
00:23:00It was a good thing.
00:23:02Then the city of Rui was the first place to compare it to Rui.
00:23:05It was a city where it was Muhammad, and he was the one that was.
00:23:08I saw it there, and I saw it.
00:23:11And the city of Amir Temaur,
00:23:12he found out that there was something that was done.
00:23:15And he knew that there was some bridge in the middle of the city.
00:23:19Because it was a city that made it a little,
00:23:21This would not like to say that
00:23:23I would like to say that
00:23:25and that would be the first stage of the upper heart
00:23:29that was the most powerful city.
00:23:31The only one of them would like to say
00:23:33Actually, there is no way of this city
00:23:35to make so much more in the coming out
00:23:37because the city would be very eager
00:23:39and the city would be greens
00:23:42and make nice and hard
00:23:44and on the road
00:23:46and getting off the street
00:23:48and on the road
00:23:50But during the time of Shabazz, the largest city of the world is the name of Isfahan.
00:23:55This is an iranian character.
00:23:57Yes, exactly.
00:23:58Yes, it is.
00:23:59Or 40-40, or 20-40.
00:24:0120-40.
00:24:0220-40.
00:24:0320-40.
00:24:04Again, 20-40.
00:24:05Let's go back to one of the parenthesis.
00:24:08It says that the friends of the father came and said,
00:24:12and they said,
00:24:14and they said,
00:24:16and you brought a love of these stories?
00:24:19And from all the stories and stories,
00:24:21related to me?
00:24:22Yes, people who saw me in Teheran,
00:24:24I can't believe in these stories.
00:24:26For example,
00:24:27I saw a friend,
00:24:28a father,
00:24:29a man,
00:24:30a man,
00:24:31a man,
00:24:32a man,
00:24:33a man,
00:24:34a man,
00:24:35a man,
00:24:36a man,
00:24:37a man,
00:24:38a man,
00:24:39a man,
00:24:41a man,
00:24:42a man,
00:24:43a man,
00:24:44a man,
00:24:45a man,
00:24:46a man,
00:24:47I mind,
00:24:48a man,
00:24:49a man,
00:24:50a man,
00:24:51a man came to himself.
00:24:53Probably so,
00:24:54a man,
00:24:55a man,
00:24:56a man,
00:24:57a man,
00:24:59a man,
00:25:00a woman,
00:25:01to make it come to me.
00:25:02I had a nominees for you but getting a theme on the internet...
00:25:03Google Shah olabilir.
00:25:04a man,
00:25:05a man..
00:25:06what it was me...
00:25:07That passed by the novelς past and receiving all of his memoirs...
00:25:09and Personal Ant Arecha...
00:25:10Until the natives may not really come into blurred,
00:25:12with the特別 word...
00:25:13and and and of course Ltd.
00:25:18things with Sister del주세요
00:25:21and how to convert them to Rome
00:25:23which was Hindi
00:25:23who knees
00:25:24but they do a textbook
00:25:25and a teacher
00:25:26who intimidate
00:25:28these
00:25:29They used to be blind
00:25:30but пох느�iant
00:25:31they was способ
00:25:34and their wife
00:25:36to become very Taliban
00:25:38they used to study
00:25:39primitive
00:25:43And one of the things that is Shakespeare,
00:25:44for writing about the history of this book,
00:25:48used this book.
00:25:49And this book was my father.
00:25:51And I read it, some of them, some of them, some of them, some of them,
00:25:54some of them, and some of them.
00:25:56And then one book I read,
00:25:59called the name of
00:26:00Khym Shabazi,
00:26:02Sadaq Čubak writing.
00:26:04This book is a lot for me.
00:26:06I really didn't understand it.
00:26:08Sadaq Čubak is a very naturalist,
00:26:11a very naturalist,
00:26:12naturalist, is very gross.
00:26:14In my view, I mean, the world is a naturalist.
00:26:17Naturalist's and realistic違ums are different.
00:26:20Naturalist's are both realistic,
00:26:21realisticists are full of them.
00:26:23Naturalists are extremely dangerous.
00:26:25They have a regularity of scum and modernist.
00:26:29But I love this book.
00:26:32This book has been written in the book.
00:26:33There is such a book for me.
00:26:35It's a book for me.
00:26:39This book is very interesting in the book for me.
00:26:40Yes, there are many books.
00:26:42Yes, I'm a book.
00:26:43After that, you were familiar with other naturalism.
00:26:48Is that Islam?
00:26:50Yes, Islam is the father of naturalism.
00:26:54There is a book that has been called Germinal.
00:26:56That is based on the workers of the population.
00:27:00The population of the population.
00:27:02He is very well-known.
00:27:05I know that many of them have been in the community
00:27:08can't be able to do this problem between the world and the world.
00:27:11Finally, it can be made of the world world.
00:27:15And this book is very interesting to me.
00:27:18I wrote this book in the end of the year,
00:27:20which is a relationship in a place.
00:27:23And I think that there is a lot of difference in it,
00:27:27without being able to do it.
00:27:28And I wrote this book by Mr. Sourouche Habibie,
00:27:31which I wrote a lot about it.
00:27:33And in Iran, it was very interesting to me.
00:27:36It was very interesting to me.
00:27:37The most important thing is the period of the 40th century.
00:27:42We have a 40th century in Iran, it's a dream.
00:27:46It's a dream.
00:27:47It's a dream, art and art.
00:27:49You can see all the Iranian people in Iran are 40th century.
00:27:52From Mehdiy Akhavan Saldes to Farooq Faroozad to Saeedi,
00:27:56Bayzaei, Radei, all the kids are 40th century.
00:27:59In the 50th century, we have less than them.
00:28:04The 40th century is a dream.
00:28:06And with all these, in the sense of the world,
00:28:12you are in the university of Iran.
00:28:15I am very fond of you,
00:28:16I am very fond of you,
00:28:16that I have a diploma in America.
00:28:19I am very fond of you,
00:28:20I am very fond of you,
00:28:21I am fond of you,
00:28:22I am fond of English.
00:28:24I am not able to do it.
00:28:26But I can't agree with you.
00:28:28And I am very fond of you,
00:28:30because I am fond of you,
00:28:31because I am fond of you,
00:28:33I am fond of you,
00:28:34I am fond of you,
00:28:36I am fond of you.
00:28:38I am fond of you.
00:28:40And I am fond of you,
00:28:42I am fond of you,
00:28:43I am fond of you,
00:28:44so I am fond of you,
00:28:45I wrote a book about the literature and the literature and the literature.
00:28:49Yes, the literature and the literature.
00:28:51We had a course of course, but we could have a second one.
00:28:57I had a second one.
00:28:59I had a second one.
00:29:01I had a book that I had a book called a book.
00:29:05It was the dramatic book.
00:29:07The president of Dr. Mehti Furoov.
00:29:09I love these things.
00:29:11I don't want to talk about this.
00:29:13But, because I bought the other thing,
00:29:15I just bought it.
00:29:17It's great.
00:29:18I thought it was great.
00:29:19But I got this done.
00:29:20I got this one.
00:29:22I got this one,
00:29:24I got this one.
00:29:26After that,
00:29:28I had those army members.
00:29:30I got this one,
00:29:30and then I had this one.
00:29:33I had it…
00:29:34I got this one,
00:29:35and I had this one.
00:29:37I was like my father, my father was a head of the theater
00:29:41But I couldn't do this job
00:29:45I was forced to do this job
00:29:47I was a student of the law
00:29:49and I was licensed to the United States
00:29:51and I was licensed to the Dramatical
00:29:53and I was a student
00:29:552-3 years ago
00:29:57I was a student of the 3rd
00:29:59I had a student of the Farsi
00:30:01I had a student of the Farsi
00:30:03I had a student of the 3rd
00:30:05and I had a student of the Mafia
00:30:07at the Human Development
00:30:09and I had a student of the Farsi
00:30:11My father was born
00:30:13and I had him
00:30:15so he couldn't help me
00:30:17and he said
00:30:19and I did
00:30:21He spoke to me
00:30:23and he said
00:30:25yeah
00:30:27he said
00:30:29did his degree
00:30:31he was a student
00:30:33because I had a friend with Dr. Frouk,
00:30:35Dr. Frouk, who was the director of Dr. Frouk.
00:30:37How did he teach you?
00:30:39He taught me to teach you.
00:30:41First of all, I didn't teach you.
00:30:43But if I didn't teach you to teach you,
00:30:45I told you to teach you how to teach you.
00:30:47I told you to teach you how to teach you.
00:30:49I know only my mother.
00:30:51I taught you to teach you to teach you.
00:30:53Then, when did you go to America?
00:30:55After that, I got to teach you to teach you.
00:30:57I got to teach you to teach you.
00:31:01I got a job to teach you.
00:31:03There are a lot of people.
00:31:05The idea is that I take you to teach you a few times.
00:31:07From what I really want to teach you,
00:31:09I talk to you about.
00:31:11This is the point for me that you read the story.
00:31:13The story here is a story.
00:31:15The story here is a story.
00:31:17It is a story which is really important.
00:31:19The story is the story.
00:31:21You can read it here and tell us what you are.
00:31:23I can read it here and say something.
00:31:25I am read it now.
00:31:27You think it is a story.
00:31:29That this story is a story.
00:31:31This is a Hadith.
00:31:33It's a Hadith.
00:31:35After that, when Markets comes out without a Hadith,
00:31:39what is it?
00:31:41Man is a Hadith with a Hadith.
00:31:44Why are we Iranian?
00:31:46Because the Hadiths are the Hadiths.
00:31:50The Hadiths are the Hadiths.
00:31:52The Hadiths are the Hadiths.
00:31:54The Hadiths are the Hadiths.
00:31:56The Hadiths are the Hadiths.
00:31:58Lisbonians are also fellow
00:32:03of Muslims. We are представляed and Shia.
00:32:07We believe we are treasury of Hadiths.
00:32:10It is requiring a Hadith's
00:32:13trade-offense Кон nothing percent of Islam.
00:32:17We believe in looks of God.
00:32:24But it's not a place,
00:32:26It's a place,
00:32:27It's a place
00:32:29It's a place
00:32:31It's a place
00:32:32It's a place
00:32:34It's a place that is in the way of our view and our view
00:32:40And it requires us to show our place
00:32:44If this is a place
00:32:46If this is a place that is possible for all of us
00:32:50It's a place that is just a place
00:32:52We can all our promises
00:32:54And we can have any how we draw it
00:32:56My love
00:32:58I think has a place
00:33:00I'm doing a piece of an speech
00:33:02It's a place that you can make
00:33:04It's a place that you make
00:33:06It's a place that you can make
00:33:08It's a place that you make
00:33:10It's a place that you make
00:33:12It's a place that you make
00:33:14And it's like
00:33:16If you don't like it
00:33:18It has a place that
00:33:20and then.
00:33:21and then.
00:33:22And you can be honest
00:33:24or you can be honest.
00:33:26And you can be honest.
00:33:28The truth is that you have experienced,
00:33:30a lot of fact
00:33:40and you have to write about it and you have to do it,
00:33:46And you can write about it
00:33:48There's a lot of books that I like to share with you,
00:33:52a book called Nishra Merkaz.
00:33:54It's called Heewan Guil.
00:33:57Yes, of course.
00:33:58It's about human.
00:34:00In this book, it says that the body of human beings is between human beings.
00:34:06It's a very different experience.
00:34:09In this book, it says that human beings only human beings.
00:34:14Yes.
00:34:15Some of them show and make these stories.
00:34:20They show us the stories and the choices and the opinions.
00:34:25And the people who show up the sky.
00:34:29They show us this story.
00:34:32Yes.
00:34:33And they show us the stories of humans.
00:34:35And they show us the story of humans.
00:34:37So they show us the story of humans.
00:34:42ソ من حتى داریم تو فضای مجازی میگردیم داریم دنبال قصه میگردیم
00:34:47ولن وقتی به همیرسی میگیم تازه چه خبر
00:34:49یعنی روایت جدید چیه
00:34:51بله بله میفرمودید
00:34:52گفتین رفتین سربازی و اونجا هم روایت
00:34:55اونجا هم روایت بود
00:34:56بعد که خدمت سربازی تمام شد
00:34:59چون من تو خانواده ای بودم که پدرم و مادرم هر دو زبان فرانسه خونده بودن
00:35:03We were in English, from outside, and in the middle of our country.
00:35:06But in this period, we were in France.
00:35:09I got to go to France.
00:35:12In France, I got to go, what do I want to go?
00:35:15I got to go, I got to go.
00:35:17I got to go, I got to go.
00:35:22But I think I got to go.
00:35:26I got to go, I got to go, because I got to go,
00:35:28you can have to go.
00:35:34.
00:35:37We must have to go.
00:35:48We must have to go,
00:35:49and all those people came into the腰 and bosses were working in theести.
00:35:56But Piroz was born with the Elath of Eishair
00:36:01They were born like Bukhtiari
00:36:04Sattar Khan and Baagir Khan
00:36:07They came to Tehera
00:36:10How much fun to talk about Bukhtiari
00:36:15About Azerbaijan
00:36:21How much of the experience of Bukhtiari
00:36:27How much of the experience of Bukhtiari
00:36:30How much of the experience of Bukhtiari
00:36:32Sattar Khan, Baagir Khan, Taboris, Azerbaijan
00:36:36How much of the experience of Bukhtiari
00:36:38We talked about Kerman
00:36:40Asfahan and Azerbaijan
00:36:42It's nice to be that Bukhtiari
00:36:44Azerbaijan
00:36:46From Azerbaijan
00:36:48We are all looking through the name and the language of Bukhtiari
00:36:55Yes, in the history of Iran
00:36:57We are looking through the attention of the Christians of Bukhtiari
00:37:00All of us were
00:37:02They were in their own groups
00:37:05They were in their bodies
00:37:07They were in their bodies
00:37:09Iran had a large bodies
00:37:11This bodies of Iran
00:37:14They were in their bodies
00:37:16This is the result of the history of Iran.
00:37:20If it comes to every country, it would have been a puddle.
00:37:25But this country is because it is a big and big country.
00:37:30We have a lot of bad people.
00:37:33They always have a dream of us.
00:37:37Or they have a dream of us.
00:37:39If you have a dream of one, one, two, three, one.
00:37:44One, two, three, one.
00:37:45One, two, three, one.
00:37:47One, two, three, one.
00:37:49But they don't have to go on.
00:37:51And then they will have to go on.
00:37:54We will have to go on the same page.
00:37:57They have to go on the same page.
00:38:00But the same page is a good thing.
00:38:02The same page is a good thing.
00:38:04This is the result of the story.
00:38:07We have to go on the same page.
00:38:10Because I know that the story is very important for you.
00:38:13We have a story.
00:38:15We have a story.
00:38:17We have a story where you went to France.
00:38:20Yes.
00:38:21We have a story.
00:38:23We have a story.
00:38:25We have a story.
00:38:27We have a story.
00:38:29We have a coffee, a coffee, or a coffee.
00:38:32And then we have some stories.
00:38:36We have two.
00:38:37It's a coffee.
00:38:38It's a coffee.
00:38:39It's a coffee.
00:39:16Application Mili این امکان رو به ما میده که با خرید ذره ذره تلا به صورت آنلاین یه حساب پسنداز تلایی داشته باشیم.
00:39:27Mili تصمیم گرفته که با 100 شمش تلای یک گرمی مسئولیت اجتماعی برای خودش تعریف بکنه و از تحصیل تعدادی از دانش آموزا در مناطق محروم حمایت بکنه.
00:39:40شما هم میتونید با پیوستن به این مسئولیت اجتماعی کمک بکنید به تحصیل تعدادی از این دانش آموزا.
00:39:48شما هم میتونید با پیوستن به این مسئولیت اجتماعی کمک بکنید به این مسئولیت اجتماعی کمک بکنید.
00:39:54موسیقی
00:40:24فرمود این که در فرانسه تاریخ میخوندید و حالا بقیه ی روایت رو گوش کنید.
00:40:30بله، من مدت زیادی در فرانسه نموندم.
00:40:36برادرم، من برادر بزرگی داشتم که از نوجوانی به امریکا رفته بود و با من مکاتبه داشت در فرانسه.
00:40:46من رو دوت میکرد به امریکا. بعد از اینکه یه مدت کوتایی یک سال در یک مدرسه به نام ادستود یعنی مدرسه مطالعات عالی.
00:40:56با یک پروفیسوری تا همین رشته تاریخ رو میخوندم چون فرانسه وقتی شما دوره کارشناسی عرشد رو شروع کنید یک پروفیسوری باید به اسطلاح سپرو وایزر باشه یعنی راه نماد باشه.
00:41:10من هم ایشون رو انتخاب کرده بودم و برحال این رو ناتمام میگذارم و میرم به امریکا.
00:41:16میرم به امریکا سال 1972 بود فکر میکنم ولی همچنان در کالیفورنیا در دانشگاهی به نام سانتا کلارا رشته تاریخ رو ادامه میدم.
00:41:29خیلی به تاریخ علاقه پیدا کرده بودم چون تاریخ هم روایت بود.
00:41:33در اونجا یک علاقه دیگه هم به این دانشگاه و این منطقه داشتم.
00:41:40من در نوجوانی کتاب موشا و آدمهای جانشتاین بک رو خونده بودم.
00:41:47و در زمانی که دو دبیرستان دارالفونون دانش آموز بودم سال پنجمه دبیرستان بودم یعنی یک سال قبل از گرفتن دیپلوم.
00:41:57به فکرم رویسته بود که این داستان رو به صورت یک نمایش رامه برای کارگردانی کنم.
00:42:05یعنی اولین جلقه دومین جلقه کارگردانی من با همین کتاب جانشتاین بک بود.
00:42:13جانشتاین بک تقریبا کالیفورنیایی بود و همین در نزدیک دانشگاه سانتا کلارا در شهری به نام سنهوزه.
00:42:23در اونجا زندگی میکرد و من زندگیشو یکی خونده بودم خیلی به موش ها آدم ها علاقه من بودم.
00:42:28حالا چرا به این داستان علاقه من بودم؟ این هم داستان هم نمایشنامه.
00:42:32یعنی اگر توضیحات داستانیشو تبدیل کنیم به اسطلاح روش های کارگردانی ما دستور سحنه بهش میدیم اسطلاحا.
00:42:45خیلی شبیه نمایشنامه میشه. یعنی خیلی راحت میشه این داستان رو به نمایشنامه.
00:42:49بعدا فهمیده خودش هم میخواسته play novelet بنویسته.
00:42:53یعنی یک فرمی به وجود بیاره که بین داستان و نمایشنامه باشه.
00:42:57یعنی هم داستان باشه هم نمایشنامه.
00:42:59میخواست مبده یک شکل عدبی باشه.
00:43:03چون فکر میکرد که داستان یک کمبودهایی داره نمایشنامه هم یک کمبودهایی داره.
00:43:09اگه بیاد این دوتا رو با هم تلفیق کنه داستان گیرایی بیشتری پیدا میکنه چون داستان روایتگرد داره نمایشنامه کارگردان داره.
00:43:17این بیاد دستورات سحنه رو بکنه توضیحات روایتگرد تو داستان.
00:43:23بعد فهمیدم که این در سنحوزه کارگری هم میکرده.
00:43:30چه کار میکرده؟ در مزاره کار میکرده.
00:43:33میگه خلق را تقلیدشان برباد داد.
00:43:36ما با خودمون گفتیم ما بریم یک شغل مثلا شبیه اشتان وقت پیدا کنیم.
00:43:42شاید ما داستان نویست میشه.
00:43:44گفتیم بریم اونجا شغل رایج کشاورزی درست کردن روب گوجه بود.
00:43:51از مزاره گوجه که خیلی به هم نزدیک بودم.
00:43:56کارخونه هاشون تقریبا نزدیک مزاره گوجه فرنگی بود.
00:44:00خلاصه رفتم و گفتم هم میخوام اینجا کار کنم.
00:44:03شنیده بودم که اشتانگ بک هم هم این کار را میکرده.
00:44:06بعد شروع کردیم.
00:44:09روز اول کار دیدیم که
00:44:12یک بشکه های سنگین رو ما باید توش
00:44:16پره گوجه کنیم اینا رو به زور بکشونیم با چرخ
00:44:20ببریم به کوره کورهی که اونجا بسوزه
00:44:23یعنی حرارت ببینه جوش بخوره و تبدیل بشه برونه.
00:44:27ما همون بشکه اول رو که برداشتیم
00:44:31کمر و پا و همه اینا جوابمون کرده.
00:44:35فهمیدیم که ما این کاره نیستیم.
00:44:38داشته هم به که از بچگی تمرینی داشته
00:44:41در شرعه تیر.
00:44:42مرد قوی بوده.
00:44:43چه کار داشت ببین؟
00:44:44در مزرعه کار که از شان گفتیم توی خانواده اشرافیه.
00:44:46خانواده اشرافیه.
00:44:48بله.
00:44:49منم خیلی خیلی این کتاب موش ها و آدم ها رو در جوانی که خوندم
00:44:56اون تأثیر گذاشت.
00:44:57یکی از تأثیر گذارترین کتاب های دوره جوانی من بود.
00:45:02انتشارات امیر کبیر چاب کرده بود.
00:45:05ترجمه آقای محمد قاضی بود.
00:45:07و الان دوباره تجده چابی شده.
00:45:11نشر ماهی توی این سری کتاب های جیبیش چاب کرده.
00:45:15خیلی به نظر من خوندنیه.
00:45:18البته میگم من سالها پیش داستان رفاقت دوتا رفیقه
00:45:22و جالبه که یک فیلم سینمایی هم بر اساسش توی ایران.
00:45:26قبل از انقلاب ساخته شده که آقای همایون و آقای مرتزا عقیلی اگر اشتباه نکنم
00:45:34نقش این دوتا دوست رو بازدی میکنن.
00:45:37چه دوستی عجیبی دارن و چه داستانه.
00:45:41حالا لو ندم ولی واقعا قلب آدم رو انگار میگی به تو مرشتش.
00:45:46خیلی اینقدر زیباست.
00:45:48لنی و جک دوتا شخصیت اصلی شد.
00:45:50رفتین و ورداشتین جبر رو دیدین که نه.
00:45:53ما نه اشتامبکیم نه به نوشتن اشتامبکیم نه به برداشتنه.
00:45:58بشگه گوجه.
00:46:01یه دقیقه یه رو بیکار کردیم و رفتیم به الام و انصرافت دادیم.
00:46:05استفایه که ما نه این کاره داشتیم.
00:46:07برگشتین سراغ دفتر و کتاب.
00:46:09بله و بعد چه شد؟
00:46:11سنحوزه برا من این جازبه رو داشت.
00:46:14به این دلیل رفتم.
00:46:15چون اشتامبک رو خیلی دوست داشتم.
00:46:17اشتامبک رو یه جایی دیگه هم ملاقاتش کرده بودم.
00:46:19آه مگه اینجا ملاقات کردن اشتامبک؟
00:46:21نه ملاقات هم منظور کتاب شد.
00:46:23آه بله بله.
00:46:24نه که خودشو.
00:46:25خودشو یا نه هیچ وقت باید همچنین.
00:46:26شانسی نداشتم.
00:46:27ولی استطلاح هم میگن دیالوگ کردن و ملاقات کردن.
00:46:30نه ملاقات با آثارش.
00:46:31نه ملاقات با شخص.
00:46:33من اشتامبک رو در خوشه های خشم هم ملاقات کرده بودم.
00:46:39در هم افصول هم داستانشه.
00:46:41و خوشه های خشم هم خیلی برای من کتاب جالبی بود.
00:46:45خیلی این آدم با جزئیات وارد زندگی مردم زمان خوش در دورهی شد.
00:46:53دهه سی امریکا که دوره افسردگی اقتصادی امریکاست.
00:46:59و اسم این دوره رو گذاشتن دوره خوشه های خشم.
00:47:01که کتاب بسیار تأثیر گذارید در جامعه ما هم بوده.
00:47:06آقای شاروخ مسکوب و آقای احمدی ترجمه کردن.
00:47:11و از همون زمانی که ترجمه شد تا امروز خونده شده و اثرش واقعا روی نسلی بوده.
00:47:18شاخکار عدبیات رایلیستیه واقعی یدگی رایانست.
00:47:21خیلی خوب نوشته.
00:47:23خب ولی کی رفتین سراغ تاعت و نمارش نامه؟
00:47:26داستاشت واقعا جالبه.
00:47:28من باز که رفتم امریکا تاریخ رو رها کردم.
00:47:33برای اینکه اون رشته نبود که مورد علاقه پدرم باشه.
00:47:37رفتم اقتصاد خوندم.
00:47:39در یه دانشگاهی در پنسیلوانیا.
00:47:42دو سال اقتصاد خوندم.
00:47:45چه دو سال دردناکی بود.
00:47:47تا فوقلیسانس گرفتم.
00:47:49فوقلیسانس اقتصاد گرفتم.
00:47:51چرا دردناک؟
00:47:53برای اینکه دوست نداشتم این رشته رو.
00:47:54اصلا فکر نمیکردم.
00:47:56این رشته رشته منه.
00:47:58همیشه یاد افلاتون بودم.
00:48:01که میگفتش که
00:48:02بدبخ اون کسانی که شب
00:48:04از ترس زرر خوابشون نمیبره
00:48:08و صبح
00:48:10به عشق پول از خواب بیدار میشن.
00:48:12یعنی بازرگانان رو میگه.
00:48:14میگه خدا رو شب که من از این طبقه نیستم.
00:48:17این طبقه تاجه رو میگه.
00:48:19من همیشه فیلم کنم کنم.
00:48:20من دارم این رشته رو میخونم.
00:48:22به من چه ربتی داره.
00:48:24شعر شاملو یادم میاد.
00:48:26من چه بیشرمه.
00:48:27مگر فانونس عمرم را برنای آویزم.
00:48:29این چه رشته یا من دارم میخونم.
00:48:31ولی خب دیگه وقتی من یک کار رو شور کنم
00:48:34دوست دارم تموک.
00:48:35و فوقلیسانس گرفتم ولی
00:48:37خب درستاشو خوشم نمیمد.
00:48:39دوست نداشتم.
00:48:40و فکر نمیکردم من مال این رشته هستم.
00:48:44بعد دیگه
00:48:46بعد از این که فوقلیسانس هم گرفتم
00:48:49گفتم نه منم.
00:48:50من نمیتونم ادامان بدم.
00:48:51چون دارم مغیز میشم.
00:48:53از ذر روحی از ذر جسمی.
00:48:56رفتم دانشگاه بولینگرین اوهایو
00:49:00که دیدم یه بورسی هم داره میده.
00:49:03حالا چرا این یه بورسی میداد؟
00:49:06یه بورسی میداد به من.
00:49:08یعنی من به این دانشگاه درخواست کرده بودم.
00:49:10و بعد یه تستی آیکیو کرده بودن.
00:49:12من آیکیوم خیلی بالا بود
00:49:14وقتی این تست رو کردم.
00:49:16به من خبر دادن که میتونم به من بورس بدن.
00:49:18ما هم از خدا خواسته رفتیم و
00:49:20منتها این دو سال رو
00:49:22دیگه پام حساب نکردن.
00:49:24مجبور شدم درس های پیشنیاز رو بگیرم.
00:49:26دانشگاه هم خیلی خوب بود
00:49:28برای اینکه رشده سینما بود
00:49:30تاعت رو رادیو بود.
00:49:32سحنه رو
00:49:34هم تراز درس میداد
00:49:36و دراماتیک نویسی در هر کدوم از اینا رو درس میداد.
00:49:40و من همین بود که من میخواستم
00:49:42که دراماتیک نویسی رو برای نماشه های رادیوی یاد بگیرم.
00:49:46برای نماشه های تلویزیونی یاد بگیرم.
00:49:49و فیلم نام هم که فیلم نامه بود.
00:49:51اما بعد هم متوجهش دارم این سه تا رسانده رو هم دوست ندارم.
00:49:54نه رادیو رو دوست دارم.
00:49:55نه تلویزیون رو نه فیلم رو.
00:49:57بلکه تاعت رو دوست دارم.
00:49:59دنبال تاعت رفتم.
00:50:01و بیشتر وقت هم و دیگه صرف دیدن نمایش رو اینا کردم.
00:50:04خوشبختانه یه شغل کوچه که هم تو دانشگاه داشتم که
00:50:07دانشگاه ما یک میدیا سنتر مرکز
00:50:11به اسطلاح نوار و کاسط و اینا علمی داشت
00:50:15داشت که نمایشناهای رو روی اون وقتهای ویدوهای بزرگ بود.
00:50:21عریض بود.
00:50:22و اینا زب کرده بودم دانشگاه اینا رو میگرفتن میخونم.
00:50:24من اینجا شغل گرفتم و کاری نداشتم.
00:50:26و شروع کردم به تماشای نمایش ها.
00:50:28سه چار ساعت که اونجا کار میکردم اینکه دوتا نمایش میدیدم.
00:50:31روی ویدو.
00:50:32و این خیلی برا من آموزنده بود این دوره و تا اینکه
00:50:36به فکر رفتادم که دیگار دارم دکتران در این درس هم تموم شد.
00:50:43و به فکر رفتادم که پایان همه بنویسم.
00:50:45و در این حیث دیگه به هم خبر دادم که پدرم در ایران فوت کرده.
00:50:51در اینجا دیگه من تحصیل راها کردم و بمایدم ایران.
00:50:55یکی دو سال ایران موندم.
00:50:58سال انقلاب بود.
00:51:00من تمام کارهای دکتریم هم کرده بودم.
00:51:04ولی فقط دفاع نشده بود.
00:51:06و دفاع هم شده بود.
00:51:08امریکا سه دفعه باید دفاع کند.
00:51:10سه بار بعد دفاع.
00:51:11یه دفاع در حضور استادانه.
00:51:13بار ثومش در حضور نماینده قوه قضایی است.
00:51:16چون دانشگاه ما دولتی بود.
00:51:18باید نماینده قوه قضایی هم میامد.
00:51:20و شهادت میداد که این جلسه دوره دکتری با شراحیت چیز برگزار شده.
00:51:25با شراحیت لازم.
00:51:27یه وقت هم زد و بندی کسی نکرده باشه.
00:51:30و دوباره برگشتید امریکا برای دفاع.
00:51:33نه دفاع اینا رو کرده بودم.
00:51:35مداره کشور نگرفتم.
00:51:36اونا دیگه تشریفاتش بود.
00:51:38بله.
00:51:39فرمودین که دراماتیک نویسی رو یاد گرفتید.
00:51:43دراماتیک نویسی یعنی چی؟
00:51:45آه دراماتیک یعنی چی؟
00:51:47ببینین.
00:51:49برای اینکه یک متنی به نمایش نامه تبدیل بشه.
00:51:53باید درش نوح ساخمایه باشه.
00:51:55نهادمایه باید باشه.
00:51:57رویدادگاه باشه.
00:51:59هنگامگاه باشه.
00:52:01نخشه داستانی باشه.
00:52:03ساختار نخشه داستانی باشه.
00:52:05شخصیت پردازی باشه.
00:52:07فضا و حالت باشه.
00:52:09بنندیشه باشه و روال های تاعتری باشه.
00:52:11هرگاه یک متنی این نوح تا شاخص درش وجود داشت میشه نمایش نامه.
00:52:15پس اینا مراحل خلق یک نمایش نامه.
00:52:17که باید این نقطه
00:52:19این نقطه باید توش باشه تا سازگان نمایش نامه داشته باشه.
00:52:23شبه لغت هایی جالبی استفاده میکنین.
00:52:25جناب نازرزاده.
00:52:27سازگان مثلا یعنی چی؟
00:52:29یعنی صورت یعنی شکل.
00:52:31شما میدونم که لغت های زیادی ساختید.
00:52:35مثلا از شما به یادگار مونده بران استفاده میشه.
00:52:40مثل زرباهنگ.
00:52:43مثل کنشگر.
00:52:45درست دارم میگه؟
00:52:46برابر ستیز رو مثلا برای آپوزیسیون دارستیم.
00:52:48چالشگر رو ساختم.
00:52:49خیلی حدود 400 و خورده ای من برابرنهاد برای اصطلاحات تاعتری ساختم.
00:52:54که شماری از اینا رو دیدم مردم عادی استفاده میکنن.
00:52:57یعنی افتاده بود دهن مردم.
00:52:59مثل مثلا بنندیشه.
00:53:00یعنی فکر اصلی.
00:53:02دیدان مثلا مردم عادی دارن.
00:53:04چرا به جای فکر اصلی بگیم بنندیشه؟
00:53:06این تصمیم شخصی من نبوده.
00:53:09اگه اجازه میدین یه تاریخ چشم.
00:53:11بله بله بله بله.
00:53:12ببینین ایران در دوره ناصردینشاه و امیر کبیر.
00:53:16یک دفعه با پروژه مدرنیسم غرب آشنا میشه.
00:53:19مدرنیسم در فرهنگه.
00:53:22فرهنگ خودش چیه؟
00:53:24فرهنگ خودش پنج تا علمان داره.
00:53:30دوم علمه.
00:53:32سوم تکنولوژیه.
00:53:34چهارم فلسفه و اخلاقه.
00:53:36پنجم هنر عدبیاته.
00:53:38ما به این پنج شاخه میگیم فرهنگ.
00:53:40مثلا وقتی بخواییم فرهنگ آلمان رو با فرهنگ مثلا افغانستان متعالیه کنیم.
00:53:46نگاه میکنیم ببینیم زبانه و سخنگوی در افغانستان چجوریه در آلمان چجوریه.
00:53:52بعد علم در آلمان چجوریه در افغانستان چجوریه.
00:53:55تکنولوژی در افغانستان چجوریه در آلمان چجوریه.
00:53:57اگه تطویقی بخواییم کار کنیم.
00:53:59این پنجتا رو وقتی متعالیه تطویقی دو فرهنگ بکنیم باید با هم مقایسه کنیم.
00:54:04بنابرای ما به این میگیم فرهنگ.
00:54:06این فرهنگ یک دفعه وارده ایران شد.
00:54:08مهمان ناخاندهی هم بود.
00:54:10یا خانده بود.
00:54:11امیرکبیر برای امیرکبیر خانده بود.
00:54:13برای خیلی ها ناخانده بود.
00:54:15فرهنگ غرب.
00:54:17همین پنجتا چیزی که الان اسم بردم.
00:54:20یک دفعه ایرانی ها به فکر افتاده این خب این علت عقب افتادگیشون همینه.
00:54:25و علت اون دو شکست فاجعه باری که از روسیه خوردن.
00:54:29در زمان فتلیشه ها.
00:54:32همین عقب افتادگیه فرهنگ بوده.
00:54:34ایرانی ها اصلا اصله های مدرن اون زمان رو نمیشناختن.
00:54:38ارتش اونجوری نداشتن.
00:54:41اردونامس اونجوری نداشتن که روسها داشتن.
00:54:44برحال به فکر میوفتن که باید خودشون رو برسونن.
00:54:47تحسیس دارالفونون که دارالفونون مناعی پولی تکنیک میده.
00:54:52دارالفونون یعنی خانه فونون. فونون همون تکنیک.
00:54:57یک دانشگاه کچیک بوده. دانشگاهک بوده.
00:55:01این دانشکدک به نام دارالفونون که خود من هم بعد اونجا دانش آموز بودم.
00:55:05پایه مدرنیست در ایران شد.
00:55:09نوگرایی که ایران خودشو بتونه فرهنگشو بالا بیاد.
00:55:12خب یک مرتبه در زمان رضا شاه بود در دههی بیست.
00:55:16که فروغی به این فکر افتاد که حالا چه کار بکنه؟
00:55:20یک فرهنگ، مثلا فرهنگستان زبان عدبیات درست کرد.
00:55:24با هم متفکران اون زمان از ده خدا بگیرین تا آدم هایی که در اون زمان مثلا روشن فکرهای اون زمان بودن.
00:55:31اینا با یک سه تا سوال روبرو شدن که با این همه چیزهایی که از فرهنگ غرب میاد با اینها چه کار باید بکنه؟
00:55:40یک دسته پیشنهاد دادن ایرانی ها دو زبان داشته باشن.
00:55:45مثل هندی ها که دو زبان دارن.
00:55:47با یه زبان دانشگاه میرن.
00:55:49مثلا دادگستری میرن.
00:55:52زبان رسمی شونه.
00:55:53با یه زبان هم تو خونه حرف میزنن.
00:55:55ایران هم بیاد همین کار کنه.
00:55:57بیاد یه زبان فرانسه، اون موقع فرانسه چون زبان مسلط بود.
00:56:02هجمانی داشت.
00:56:03بیاد این زبان رو بکنن زبان دانشگاه و زبان رسمی.
00:56:07بعد مردم هم تو خونه فارسی حرف بزنن.
00:56:10حافظ بخونن مولوی بخونن فردوسی بود.
00:56:12این نظریه با مخالفت ملی گراها، ایران گراها روبرو شد.
00:56:19یعنی چی؟
00:56:21ایران کشوری بوده که زبان فارسی داشته و زبان فارسی درش پنج شاعر بزرگ.
00:56:27مولوی و سعدی و حافظ و غیام و فردوسی.
00:56:30اینا بوجود داره مثلا در تمام زبان انگلیسی یه شیکسپیر بوجود داره.
00:56:34ما پنج تا داریم تو یه زبان.
00:56:37زبان آلمانی یه گوته رو داره.
00:56:39اصلا فرانسا در حد شاعر افلاکی نداره.
00:56:42در حد فافظ و مولوی نداره.
00:56:45حالا ما بیاییم مثلا زبان فارسی رو بزاریم کنار یه زبان خارجی رو بکنیم.
00:56:51زبان دانشگاهیمون، زبان رسممون.
00:56:54با این تز رو برو شد.
00:56:57دسته دیگه گفتن بیاییم لغتهای خارجی رو برای زبان فارسی کنیم.
00:57:01مثلا بگیم تلویزیون، رادیو، هایوی یا اوتوبان.
00:57:06همه این لغتهایی که از خارج میگیریم با همون شکل.
00:57:09این دیگه فاجعه هولناکی بود.
00:57:12برای اینکه زبان فارسی تکپاره میشد.
00:57:16و اصلا دیگه باشی نمیشد.
00:57:18عدبیات به وجود آورد.
00:57:19واقعا درست فکر می کردن.
00:57:21فروغ فرقصاد میخواست بگه یه نفر زیر ماشین رفته.
00:57:24خب ماشین رو نمیتونست تو شعرش بیاره.
00:57:26همینجور که مثلا تلویزیون رو نمیشه تو شعر آورد.
00:57:29خیلی سخته.
00:57:30چون شد جشار بزرگی بتونه.
00:57:32ولی به هر حال خیلی ها نتونست.
00:57:34اومده فروغ یه تکنیکی که بکار بده.
00:57:36گفت زیر چرخ.
00:57:38به جا که بگرفت زیر ماشین.
00:57:39خب این تهوری خیلی زود رد شد.
00:57:41که ما بیاییم زبان فارسی رو حرف بزنیم.
00:57:44اما بیاییم لغت های خارجی رو همونجوری که هست.
00:57:48بیاریم وارد زبان فارسی بکنیم.
00:57:50اندوز متاسفانه.
00:57:51الانم این کار میره بستم.
00:57:52من دیدم بعضی هم میگن تایم نداریم مثلا.
00:57:54یعنی من وقت نداریم.
00:57:56عدت این اون دیگه از رای مثلا یه جور قرزدگیه که آرام اینجوری حرف بزنه.
00:58:01ولی راه ثوم این بود که این راه پیروز شد.
00:58:05که بیاییم برای اصطلاحات هر گفتمان متنی برابرناهات های فارسی بسیستیم.
00:58:11که است بهش گفتن فارسی را پاس بداریم.
00:58:14پشت این پرچم را افتادن و این نتیجه انداد.
00:58:18چون زبان فارسی بسیار زبان مقتدریه.
00:58:21و با به کمک پیشوند، میانوند و پسوند هر چیزی را میشه بیان کرد.
00:58:31و بعد با شاهکار ترجمه ایشه.
00:58:34آقای عدیب سلطانی از سنجش خردناب مال کانت.
00:58:40نمیشته کانت.
00:58:42این ترجمه را عرضه کرد.
00:58:43این یکی از سخت داریم کتاب های فلسفیه.
00:58:45اونا که فلسفه خوندن میگن.
00:58:47به قول کرمانی ها به ما هم رسیده.
00:58:49ما که فلسفه را نمیدونیم در اون هم.
00:58:52به ارحال، این کتاب شاهکار ترجمه های.
00:58:56یک اثرت.
00:58:58کانتیه.
00:58:59من یادمه در امریکا.
00:59:01به من میگفتند.
00:59:02یعنی همین بچه هایی که فلسفه میخونند.
00:59:03یعنی دانشونی که فلسفه میخونند.
00:59:05که بهتر آدم این کار کانت رو به انگلیسی نخونه.
00:59:08به همه آلمانی بخونه.
00:59:10تفسیرشو به انگلیسی بخونه.
00:59:12چون قابل تبدیل به زبان انگلیسی نیست.
00:59:15آقای عدیب سلطانی اینو به اندازه خوب ترجمه کرده.
00:59:18اون هم با لغتهای فارسی.
00:59:20یعنی فارسی گرایی.
00:59:21همین کاری که خود من هم انجام میدهند.
00:59:24و توصیه فرهنگستان هم نامین بوده.
00:59:26و من دیدم که خوب.
00:59:28علت این که تاعت هنوز با همون اصطلاحات ناچیزی به کار میره.
00:59:35به دو دلیله.
00:59:37یه دلیله که اصلا علم تاعت که دانشگاهیه در ایران پا نگرفته.
00:59:42مثلا ایران اطلاعات تاعتری خیلی در سطح پایینیه.
00:59:46در حاله که در کشورهای بقیه کشورهای دنیا
00:59:49تاعت هم مثل مثلا بیولوژی تاعت حد دکترها تدریس میشه.
00:59:54پس اصلا دافتالب نبود.
00:59:56آدمی نبود که اینا رو بلد باشه.
00:59:58این اصطلاحات تاعت رو.
01:00:00دوام اینکه همون اصطلاحات غربی رو به کار میبودن.
01:00:03مرحوم نوشین مرد همچنان به نماشنامه میگو پیس.
01:00:07پیس دقاماتی که فرانسا رو میگو.
01:00:09ولیته مقصودش این بود.
01:00:11و اصطلاح نماشنامه رو به کار نمیبود.
01:00:13یا نمیدونست.
01:00:15نا نمیدونم.
01:00:16لغتهایی که ساخته شد
01:00:18خیلی هاش جا افتاد و مردم به کار بردند.
01:00:21و وارد زبان شد.
01:00:24ولی خیلی هم به کار نبردند.
01:00:26من که اصلا تخصوصی ندارم.
01:00:30ولی شنیدم که دو تا نظر هست.
01:00:33یه عده ای که میگن سعی کنیم
01:00:36و اصرار بورزیم
01:00:38که لغتهای فارسی استفاده بشه.
01:00:41و عده ای که میگن وقتی مردم به کار نمیبرن
01:00:45معلومه با این لغت راحت نیستن.
01:00:47و اگه به رادیو میگن رادیو
01:00:49الان دیگه رادیو یه لغت انگلیسی نیست.
01:00:52یه لغتیه که بر ما پویاس اومد این ور
01:00:56و ما ایرانیش کردیم و داریم ایرانیش را استفاده میکنیم.
01:00:59یا تلویزیون.
01:01:00کدوم درسته نمیدونم.
01:01:02ولی میگم این دوتا نظر رو من شنیدم.
01:01:05شما عرافه مپنیم به جایی رادیو ما باید کلمه دیگه ای بسازیم؟
01:01:09ولی ببینید اگه یک کسی زوق داشته باشه.
01:01:13یعنی اگر دنبال این کار رفته بودن که برای رادیو
01:01:19یه برابرنهاد فارسی بسازن میتونستن.
01:01:22خساختن ولی مردم استفاده نکردن.
01:01:25ساده خدایت ولی این بابر بود چون اونم جز به همین
01:01:29تو همین درگیر شده بود با این مسئله.
01:01:31و چون ایرانگرای بود متقد بود که باید به زبان فارسی برگردیم.
01:01:35ولی خودش یه نظریهی داره که من خیلی تک میدارم قابل تعمله.
01:01:40میگوه اگر لغتی باشه فرنگی باشه حالا ایرانی نباشه.
01:01:44ولی موسیقیش با زبان فارسی بخوره.
01:01:47اینه میتونیم تو زبان فارسی به کار ببریم.
01:01:50مثلا لغت تماشا.
01:01:52این تماشا عربیه دیگه از مشی و اینا.
01:01:54معنیاش اینیست که راه رفتن و نگاه کردن.
01:01:57معنی تماشا اینه دیگه.
01:01:59الان این لغت خوبه.
01:02:01ما نباید عوضش کنیم.
01:02:03مثلا خود صادقه قریب کلمه جنی رو به معنی نوبوخ.
01:02:06میگفت خب این لغت خیلی شبیه لغتهای فارسیه.
01:02:09بیاییم همون جنی فرانساست دیگه.
01:02:11اینو به کار ببریم.
01:02:13و این نظریه شاید جالب باشه.
01:02:16رادیو به لغتهای زبان فارسیه.
01:02:19البته مثلا عرب ها بهش میگن هاتف.
01:02:21و شاید مثلا یه لغتی مثل سروش.
01:02:24میتونست جانشین رادیو بشه.
01:02:26اسم من پس رادیو سه حد.
01:02:31سروش یه صدای قیبیه دیگه.
01:02:33رادیو هم تقریبا همونه.
01:02:35ولی تلویزیون با جام جم نزدیکه.
01:02:38و باز اگر یکی آدمی بود که قدرت عدبیه خیلی بالایی داشت.
01:02:43چون اصلا زبان یه قرارداده.
01:02:45ببینید مثلا ما میگیم فرودگاه.
01:02:47خب فرودگاه یعنی اینجایی که هواپه ما فرود میاد.
01:02:50از اونجا که هواپه ما فرازگاه هم هست.
01:02:52هواپه ما پنجا درصد این اصطلاع نادرسته.
01:02:56هواپه ما از اونجا بلند هم میشه.
01:02:58یا ایسگاه.
01:03:00خب ایسگاه از اونجا هواپه ماشین حرکت هم میکنه.
01:03:03پچه را ما مثلا بخشش رو گرفتیم.
01:03:06پنجا درصد از رو گرفتیم.
01:03:08خب زبان قرارداده.
01:03:10وقتی که ما با این قرارداد بگردیم.
01:03:12خب اول بار که اصلا این رو نشناسان میگن.
01:03:15میگن مثلا کلمه درخت هیش تناسوبی با درخت نداره.
01:03:18این سه تا واجه است.
01:03:20در ذهن ما قرارداد شده که وقتی ما اینه گفتیم این یادت بیاد.
01:03:25زبان قرارداده.
01:03:26میتونستیم بسازیم.
01:03:27بکنم کتایی کردیم.
01:03:29شما نظرتون اونه که میتونستیم بسازیم.
01:03:31ولی زبان فارسی.
01:03:32زبان فاخری.
01:03:33ولی برحال میگم لغت هایی مثل ضربا هنگ یا کنشگر.
01:03:37واقعا الان دیگه همه درن استفاده میکنن.
01:03:39ولی مثل برابر ستیز من در مقابل اپوزیسیون بکار بردم.
01:03:42البته تو نمایشنامه بکار بردم.
01:03:44میدوند تو نمایشنامه میگیم شخصیت چالشگر.
01:03:47در برابر شخصیت بسرها پادچالشگر من میگم.
01:03:52یعنی پروتاگونیست آنتیگونیست.
01:03:54برابر ستیزی میکنه.
01:03:56آیدو تو شما سالها عدبیات تطبیقی درست دادید.
01:04:00اهمیت عدبیات تطبیقی چیه؟
01:04:04یعنی چرا ما باید بیاییم برابر سنجی کنیم که اینجا و اونجا.
01:04:10اصلا عدبیات تطبیقی یعنی همین دیگه.
01:04:13بله یعنی ببینیم همزمانیش چیه؟
01:04:15یعنی چی عدبیات تطبیقی؟
01:04:16ببینین امور به طور کلی با هم یا شباهت دارن یا تفاوت دارن.
01:04:20یا اصلا یک کمانندی دارن.
01:04:22یعنی سه تا آلت بیشتر نیست دیگه.
01:04:24یا تفاوت یا شباهت یا یک ثانی.
01:04:29همه ی امور تو دنیا.
01:04:31خب، اینو ما اینجا تو زن داشته باشیم.
01:04:34برای اینکه آدم یه مسئله رو بفهمه،
01:04:36باید متوجه شباهت ها، تفاوت ها و یک ثانی ها بشه.
01:04:42یکی از مضیعت های عدبیات تطبیقی،
01:04:46اینیست که خیلی دانشجو پسنده.
01:04:50یعنی خیلی زود تفاوت ها رو، شباهت ها رو میپرزین و جمعه آموزشی داره.
01:04:56دوم اینکه به ما یه چیزی میگه،
01:04:59که انسان ها هر جای دنیا که بودن،
01:05:02احساسات و عواطفشون شبیه هم بوده.
01:05:04واقعا بنی آدم اعضایی یک پیکره.
01:05:06این هم جزوه اصطلاح ویژگی ها عدبیات تطبیقیه.
01:05:11عدبیات تطبیقی به ما یک چیزی دیگر هم میگه،
01:05:14تأثیر گذاری،
01:05:15که خیلی مسئله مهمیه،
01:05:17که آدم ها از دیگران تأثیر گرفتن یا نه.
01:05:21اصولا یکی از شاخصه های عدبیات فاخر اینیست که تأثیر گذاره.
01:05:27یعنی بر عدبیات بعد از خودش تأثیر میگذاره.
01:05:30جای متعلقه این تأثیر گذاری تو عدبیات تطبیقیه.
01:05:33بس عدبیات تطبیقی محلیست که ما تأثیر گذاری ها رو میفهمیم.
01:05:38و تأثیر گذاری خیلی در عدبیات مهمه.
01:05:40حتی الان به لازه حقوقی هم مهم شده.
01:05:43یعنی اگر یک کسی اثر یکی دیگر رو برداره
01:05:46و بیشتر از حد تأثیر گرفته باشه،
01:05:49میشه بهش سرقت عدبی گفت.
01:05:51پلیجاریزم بهش میگن.
01:05:52مثل همین مثالی که زدید و گفتید شاید بکت از شتاینبک تأثیر گرفته.
01:05:59این میشه عدبیات تطبیقی.
01:06:01از کجا میتونیم بفهمیم باز با تکنیک هایی که دانشمندان عدبیات تطبیقی پیدا کردن.
01:06:07ما در یورنامی داشتیم.
01:06:09ما مثلا امیر موزی که شاعر دربار بوده.
01:06:13این یکی از کاراش این بوده که
01:06:15بفهمه این شاعری که اومده خودشو شاعر معرفی کرده.
01:06:18این نکنه سرقت کرده باشه
01:06:21و نکنه که بیشتر از حد تحت تأثیر یه شاعر دیگه قرار گرفته باشه.
01:06:25او باید تعیید میکد این شاعر که این شاعر اصالت داره.
01:06:29مثلا سرقت عدبی نکده.
01:06:31امیر شعرهایی که تو دربارها بودن
01:06:33یکی از وضایفشون خانه ها عدبیات تطبیقی بوده.
01:06:36و من اصلا فکر میگونم بنیانگذار عدبیات تطبیقی میگن فرانسوی ها بودن، ایرانی ها بودن.
01:06:41ایرانی ها یه بحثی دارن به نام سرقات.
01:06:44که کتاب استاد جلالیدین همایی خیلی خوب این بحثو بهش دامن زده.
01:06:50و بعد فهمیدم که این بحث سرقات از ایران تقریبا رفته به عروزدانهای مثل ادبای غربی رفته.
01:07:01T.S.L.O.T یه جمله خیلی معروفی داره که میگه که شاهکار عدبی وقتی خبق میشه که یک سارغ بسیار بزرگ عدبی
01:07:12یک اصلا از عدبیات جهان سرقت کرده باشه بدون اینکه رده پایی گذاشته باشه.
01:07:17یعنی شاهکار یعنی یک سرقت بدون رده پایی.
01:07:21چقدر این جاله؟
01:07:22این رو میگه.
01:07:23خب بست شناخت این رده پاها کجاست تو عدبیات تطبیقیه.
01:07:27ما تو عدبیات تطبیقی رده پا رو خیلی زود پیدا میکنم.
01:07:30خیلی برام جالب بود که سرقتی که قابل ردیابی نباشه شاهک.
01:07:36نباشه.
01:07:37خیلی رده پا شد کنم.
01:07:38خود ایلیوت همین کار کرده.
01:07:40خود ایلیوت یعنی من شون یک کتابی در زمینه ایلیوت نوشتم فکر میکنم اینجا باشه.
01:07:44میشه.
01:07:45بله.
01:07:46تی ایلیوت و نمایش نامه منظوم و مذهبی نوشته ی دکتر فرهاد نازرزاده کرمانی انتشارات جهاد دانشگاهی.
01:08:00بله؟
01:08:01بله.
01:08:02ایلیوت یک داستانی داره نمایشگونه است.
01:08:06به نام کاتالوف آف کتس یعنی کاتالوگ گربه ها.
01:08:10این رو از روی عبید زاکانی موشه گربه عبید برداشته.
01:08:14چرا من این نظر میگم؟
01:08:16ایلیوت یک زمانی در جنف در کتاب خونه‌ی السنه‌ی شرقی کار میکرده.
01:08:20که تمام کتاب ها یاد بیت فارسی اونجا بوده.
01:08:22و ترجمه‌هاشون.
01:08:24یعنی الان هست این کتاب مدرسه‌ی علصنه‌ی شرقی.
01:08:28یکی از بزرگترین کتاب‌های خونه‌هاییست که
01:08:31کتاب‌های عدبی ایران درش هست.
01:08:35و ترجمه‌هایی که مثلا از خیام شده.
01:08:37ترجمه‌هایی که از مولوی شده.
01:08:39از کاری ما.
01:08:40تا این کتاب خونه است.
01:08:41احتمالا ترجمه‌ی از چیزم اونجا بوده.
01:08:44موش و گربه‌ی عبید زاکانی.
01:08:47و این موقعی که من سال آخر دورهی دکتوری در امریکا بودم
01:08:53بر اساس این نمایش‌ی این کاتلوب‌هاً
01:08:56یا کاتلوب‌هاً
01:08:58یک نمایشنامه‌ی به نام گربه‌ها نوشته شد.
01:09:03نمایشنامه‌ی خونیاگرانه بود.
01:09:05نمایشنامه‌ی خونیاگرانه‌شن‌ای از موسیقی, سرود, آواز،
01:09:09حرکات زربا هنگی اینستفاده‌ش شده.
01:09:11ما به این میگیم نمایشنامه‌ی خونیاگرانه.
01:09:13the name of Joe
01:09:14The name of Joe
01:09:17This is Jaundin
01:09:18this is the first year
01:09:20that I had to pick up
01:09:21a school
01:09:22with this
01:09:23then
01:09:25Mr. Seah Esta
01:09:26this was a long time
01:09:27I am going to be a male
01:09:29I am gonna be a male
01:09:30but this was another scene
01:09:33this was a lot of attention
01:09:35and in the sense of
01:09:36it was a singular form
01:09:37my gender
01:09:38this is the current
01:09:41Many of the most important artists in the world are a group of artists and artists.
01:09:52Mr. Jalal Tahrani, Mr. Panta Bahram, Mr. Fahadiy, Mr. Fahadiy,
01:10:00I've heard of them that every time I think about school,
01:10:05one name for me, Mr. Fahadiy, Mr. Kermani,
01:10:12there are two salons in Iran.
01:10:16One salons of Mr. Taman Dariyan, one salons of Mr. Fahadiy, Mr. Kermani.
01:10:22What happened to you that you would like to introduce,
01:10:28in the stage and see you,
01:10:31one salons of Mr. Tadrins,
01:10:33and this is one salons of Mr. Kermani.
01:10:36One salons of Mr. Kermani, Mr. Kermani,
01:10:39and one salons of Mr. Kermani, Mr. Kermani,
01:10:44Mr. Kermani, Mr. Kermani.
01:10:46and the father of the theater of the Iran Iran,
01:10:48that you have to say?
01:10:49Well, this is a good thing.
01:10:51But I am currently working on the Iran's
01:10:54The Iran's work.
01:10:57In the year of 1960, I am going to Iran.
01:11:00And I will give you a picture of myself.
01:11:02I am very familiar with Iran.
01:11:04I am a proud of Iran.
01:11:06And I am a proud of Iran.
01:11:07And I am always with all of them.
01:11:09I mean, all of them want to go and I think about this.
01:11:13Because the country is a very accessible to the country.
01:11:15by me, I will not be able to show the way to the world.
01:11:17I think that this is a willenisation that we must have had a shadow in a moment.
01:11:23This monies, I love life and humanity.
01:11:27Iranians are many people in this world knowing much.
01:11:30I was able to reach Iran.
01:11:32Every time they went through, they came back to Iran.
01:11:36I moved a very far, because no one has been from me and even my nephew,
01:11:40in iran department,
01:11:43DANTEJKADJA Y HONERHAI ZEBAI DANTEJKADJA Y HONERHAI DANTEJKADJA Y TAHERAN
01:11:47IN YIRAN IN DAHEH 1360, HOST 2 DANTEJKADJA Y DRAMATIK BUDD, KEMON DOKTOR FURUG
01:11:56HOMEONE JAHLE BUDD. HARA MEEGAN CHUAHADHA.
01:12:01Then I went to the committee.
01:12:03Then I went to the committee and the committee
01:12:09They were in the committee.
01:12:12They went to the committee.
01:12:15I came to this way.
01:12:16I became the group of the group of students.
01:12:19Then I went to the group of 300 students.
01:12:23Some of the students are in the committee.
01:12:25They are in the group of students.
01:12:26In a moment, Mr. Samedary and Mr. Beizai
01:12:30There were some of the students who had to do it
01:12:33But it was a reason to do it
01:12:34It was a reason to do it
01:12:36Mr. Sمندران, Mr. Sمندران, very much didn't come out
01:12:39I had to do it for example, if the program is correct
01:12:43And because the program is correct, if the program is correct, or if the program is correct
01:12:48I have to do it for the program to do it
01:12:50For the time to do it
01:12:52There are people who have been very big and large
01:12:55Who have been able to do it
01:12:57and the reason behind the scenes weren't coming
01:13:01then I made these commercials
01:13:05until the following the performance of the show
01:13:10which I want to know
01:13:11the people who need to know if they have a show
01:13:14and they are now in the end
01:13:16I want to see that in a theater that exists
01:13:19I want to see that in a theater
01:13:20I want to see that in a theater
01:13:22and then I will see that in a theater
01:13:25I don't think it's a theater, so I want to show you what I'm going to do.
01:13:28And I'm just going to study these studies that I've been trained
01:13:34until the doctorate for a full license,
01:13:36I've said that the first message of you is that you are in a large city of your own city,
01:13:42because they are coming from Iran,
01:13:45they come to the theater for a long time of work.
01:13:48This is the opportunity, the discovery and the discovery of you.
01:13:51And they have a lot of fun.
01:13:54of University of Boucher in the state of the city
01:13:56and the famous chiefurian
01:14:00at the pre-mix on the Kabon
01:14:03I was in Iraq
01:14:06I was in the state of Turkey
01:14:10and I was at the State of the Square
01:14:13I was in the State of the State of the State of the State of Kerman
01:14:18and I was also in the state of Turkey
01:14:24That was a question of the two students that the students have before the university.
01:14:30The other students have a national interest.
01:14:33But there is a problem in the students.
01:14:36The students have been a way to the university.
01:14:39We have a way to the university.
01:14:42We have no idea of the university.
01:14:44And we have to have a way to the university.
01:14:46Until the university university will be a good.
01:14:49I hope that the people who have been in front of you
01:14:53should be able to think about the theater of art and art.
01:14:56Mr. Storos, this is a very strange thing.
01:15:01You can see that in all the countries of the world,
01:15:04I am in France, I am in America,
01:15:09I have the classes that I had, they were in the field of work.
01:15:12I asked them what to do, what to do, what to do.
01:15:15They said they wanted to be in the field of work.
01:15:18They asked me in the field of art.
01:15:22They wanted to study work in the field of art,
01:15:25I would say that in the field of art,
01:15:28I would say we wanted to study work in the field of art,
01:15:31I wanted to say that in the field of art,
01:15:33I wanted to study work,
01:15:35and this is actually an expertise.
01:15:37In Iran, there is a system very fusible and a strong
01:15:41there is.
01:15:42I have a literary course,
01:15:45that all theğlu were involved in there.
01:15:47which will be like art and art
01:15:49but in the U.S. and U.S.
01:15:51there is no teaching in the U.S.
01:15:55in the way that the way of the use of the U.S.
01:15:59is the way to the U.S.
01:16:01to the U.S.
01:16:03and U.S.
01:16:05to the U.S.
01:16:07that is the talk of my friends
01:16:09and the U.S.
01:16:11that is the design of the U.S.
01:16:13to the U.S.
01:16:15and U.S.
01:16:17to the U.S.
01:16:21to the U.S.
01:16:23and U.S.
01:16:25to the U.S.
01:16:27and U.S.
01:16:29I will tell you a few words
01:16:31and tell you by the U.S.
01:16:33to the U.S.
01:16:35to the U.S.
01:16:37when in U.S.
01:16:39when we leave the U.S.
01:16:41I often like my family, I'm in a company called a police.
01:16:47I'm in a company called a police department.
01:16:49So what can you do?
01:16:51The crowd is creating?
01:16:53The drama is creating?
01:16:55The drama is creating?
01:16:56The problems are creating a world's work.
01:16:58The business can be done on a war,
01:17:00the job can be done on a war.
01:17:02The theater can be done on the street.
01:17:04If we leave, the theater will be done on the street.
01:17:08The members of their families are much better.
01:17:11Thank you very much.
01:17:41Thank you very much.
01:18:11Thank you very much.
Recommended
47:24
49:12
45:27
42:18
37:24
46:42
35:29
34:38
25:16
27:24
48:06