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رند خلوت نشین
کتاب حاضر، در واقع فرود انسان است از بهشت به عالم خاکی که در قالب زندگی و اندیشه «حافظ شیرازی» تدوین یافته است.
حافظ در این اثر، تمثیلی از «آدم» است و «شاخ نبات» نیز سمبلی از «حوا» و به تعبیری نماد همه زنان که یک چند در عالم خاص میزیند.
حافظ همچون آدم به کره خاکی فرود میآید و هستی زمینی را تجربه میکند. او در گیر و دار تمامی مسائل زمینی قرار میگیرد و دورههای مختلف خوشی، مصایب و آلام بشری را حس میکند با این همه، جهان حافظ، این «رند خلوت نشین»، جهانی است در حضور خدا. داستان او حکایت انسان بندبازی است بر پرتگاهی هایل که بار امانت به دوش گرفته است تا به سر منزل مقصود برسد. زندگانی او یک سفرنامه روحانی است که آغاز آن در ازل است و فرجام آن در ابد. او کسی است که نه تسلیم زاهد نماهای ریاکار میشود و نه سر بر قدرت پوچ ارباب زور فرود میآورد. در این نمایش، ابلیس نیز با حافظ به زمین میآید، اما حافظ همواره از او پرهیز میکند. از طرفی «شاه شجاع»، «شاه شیخ» و «امیرتیمور» شخصیتهای دیگر نمایش هستند که در واقع نماد همه حاکمان زمینی هستند و مانعی بر سر تعالی انسان به شمار میآیند. شخصیت دیگر نمایش – «یاقوت» – نیز چشم طنزآلود ملت ایران است که صحنه روزگار را مشاهده میکند. در پایان نمایش، حافظ پس از چندی سیر در زمین و مشاهده و تجربه زندگی بشری – با همه آلام و خوشیها – به نقطه مبدا رجعت میکند و دامن از عالم خاکی برمی چیند. در انتهای کتاب مقالهای از خانم صابری تحت عنوان “تئاتر چیست؟ “درج شده و در صفحات پایانی تصاویری از تمرینهای نمایش و بازیگران آن به چاپ رسیده است.
حافظ در این اثر، تمثیلی از «آدم» است و «شاخ نبات» نیز سمبلی از «حوا» و به تعبیری نماد همه زنان که یک چند در عالم خاص میزیند.
حافظ همچون آدم به کره خاکی فرود میآید و هستی زمینی را تجربه میکند. او در گیر و دار تمامی مسائل زمینی قرار میگیرد و دورههای مختلف خوشی، مصایب و آلام بشری را حس میکند با این همه، جهان حافظ، این «رند خلوت نشین»، جهانی است در حضور خدا. داستان او حکایت انسان بندبازی است بر پرتگاهی هایل که بار امانت به دوش گرفته است تا به سر منزل مقصود برسد. زندگانی او یک سفرنامه روحانی است که آغاز آن در ازل است و فرجام آن در ابد. او کسی است که نه تسلیم زاهد نماهای ریاکار میشود و نه سر بر قدرت پوچ ارباب زور فرود میآورد. در این نمایش، ابلیس نیز با حافظ به زمین میآید، اما حافظ همواره از او پرهیز میکند. از طرفی «شاه شجاع»، «شاه شیخ» و «امیرتیمور» شخصیتهای دیگر نمایش هستند که در واقع نماد همه حاکمان زمینی هستند و مانعی بر سر تعالی انسان به شمار میآیند. شخصیت دیگر نمایش – «یاقوت» – نیز چشم طنزآلود ملت ایران است که صحنه روزگار را مشاهده میکند. در پایان نمایش، حافظ پس از چندی سیر در زمین و مشاهده و تجربه زندگی بشری – با همه آلام و خوشیها – به نقطه مبدا رجعت میکند و دامن از عالم خاکی برمی چیند. در انتهای کتاب مقالهای از خانم صابری تحت عنوان “تئاتر چیست؟ “درج شده و در صفحات پایانی تصاویری از تمرینهای نمایش و بازیگران آن به چاپ رسیده است.
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About the author
پری صابری
17 books7 followersPari Saberi was born in Iran, where she spent her childhood and most of her adolescence and high school years.
In 1948 imigrated to Paris France with her family- There, she has finished her high school studies and goes on to pursue cinematography at the Vaugirard School of Cinema. While in university, she also continued to study her own native Persian language (Farsi) and literature under the late Professor Henri Masse and Professor Lazare at the Paris School of Eastern Languages. In 1954, during her final year at Vaugirard, she made a short film about the poetry of Omar Khayam, which obtained the prize for best artistic and technical film. After graduation, she went on to study theater with Mrs. Tania Balachova for 3 more years, until 1958. During those years, she also cooperated with numerous other theater and cinema study groups in Paris. From 1958 to 1960,she has work as an intern student in the laboratory of Paris Cinema.
she returned to Iran in 1962, where she began her career first in cinema, and then in theater. She acted In two movies: "The Night of the Hunchback" by Farrokh Ghaffari, and "Brick and Mirror" by "Ebrahim Gotestan". She also acted in a few plays like"The glass Menagerie" of Tennessee Williams, and "The Seagull" of Anton Chekhov.
From 1964 to 1978,1 directed and staged over 60 plays in Tehran, mostly western plays. She also wrote and translated numerous books. At the same time, she served as the director of The Cultural Activities Center at the Tenran University.
After the Iranian revolution in 1979,1 moved to the United States tor four years. There too, she tried to pursue her carrier in the filed of theater, and also continued to write. She began to write her own scripts. She wrote and staged the play The Voice Alone" based on the life and poetry of Forough Farokhzad, a contemporary Iranian poetess- The play was performed in both Farsi (Persian) and English languages. While writing the script for "The Voice Alone", she discovered an immense source of inspiration in the Iranian literature and poetry in general. This important discovery gave her work a totally new dimension, and her whole career took on a new turn. She also found a whole new personal technique of staging plays by mixing live Iranian music, dance and acting together.
After her return to Iran, She have continued in this new direction, marrying together mysticism, poetry, Iranian sagas, music, dance and theater. My works have been greatly inspired by Iranian mysticism, ageless epic sagas from ancient Iran, the Ta'zia which is the traditional religious theater of Iran. Since 1988, she have written and staged 11 plays in Tehran, some of which have been invited on tours and performed abroad in different countries.
In 1948 imigrated to Paris France with her family- There, she has finished her high school studies and goes on to pursue cinematography at the Vaugirard School of Cinema. While in university, she also continued to study her own native Persian language (Farsi) and literature under the late Professor Henri Masse and Professor Lazare at the Paris School of Eastern Languages. In 1954, during her final year at Vaugirard, she made a short film about the poetry of Omar Khayam, which obtained the prize for best artistic and technical film. After graduation, she went on to study theater with Mrs. Tania Balachova for 3 more years, until 1958. During those years, she also cooperated with numerous other theater and cinema study groups in Paris. From 1958 to 1960,she has work as an intern student in the laboratory of Paris Cinema.
she returned to Iran in 1962, where she began her career first in cinema, and then in theater. She acted In two movies: "The Night of the Hunchback" by Farrokh Ghaffari, and "Brick and Mirror" by "Ebrahim Gotestan". She also acted in a few plays like"The glass Menagerie" of Tennessee Williams, and "The Seagull" of Anton Chekhov.
From 1964 to 1978,1 directed and staged over 60 plays in Tehran, mostly western plays. She also wrote and translated numerous books. At the same time, she served as the director of The Cultural Activities Center at the Tenran University.
After the Iranian revolution in 1979,1 moved to the United States tor four years. There too, she tried to pursue her carrier in the filed of theater, and also continued to write. She began to write her own scripts. She wrote and staged the play The Voice Alone" based on the life and poetry of Forough Farokhzad, a contemporary Iranian poetess- The play was performed in both Farsi (Persian) and English languages. While writing the script for "The Voice Alone", she discovered an immense source of inspiration in the Iranian literature and poetry in general. This important discovery gave her work a totally new dimension, and her whole career took on a new turn. She also found a whole new personal technique of staging plays by mixing live Iranian music, dance and acting together.
After her return to Iran, She have continued in this new direction, marrying together mysticism, poetry, Iranian sagas, music, dance and theater. My works have been greatly inspired by Iranian mysticism, ageless epic sagas from ancient Iran, the Ta'zia which is the traditional religious theater of Iran. Since 1988, she have written and staged 11 plays in Tehran, some of which have been invited on tours and performed abroad in different countries.
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