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Iran has various genres of musicals. Some, like ta’ziyeh, date back to medieval times; others are more recent, including konsert namayesh (‘concert theatre’), which has been dominant on Tehran’s stages in the past decade. This article examines the features of concert theatre, focusing on its development, structure and patterns. I also discuss how this musical style is a product of Iran’s current social climate and provide a contextualized analysis of the musical Sii (30) as a case study. Drawing on available reviews and press coverage of Sii, I observe how concert theatre shows reflect the tastes of audiences, create innovations in Iranian performing arts and utilize historical material and nostalgia about collective memories for box office success.
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https://doi.org/10.1386/smt_00171_1 Published content will be available immediately after check-out or when it is released in case of a pre-order. Please make sure to be logged in to see all available purchase options.