The Play 'The Good Woman of Tehran' Highlights the Impact of Poverty on Society; Sousan Farokhnia: A Fusion of Live and Virtual Performance

The play 'The Good Woman of Tehran', written and directed by Iranian artist Sousan Farokhnia, recently premiered in London. This work is an adaptation of Bertolt Brecht's play 'The Good Woman of Setzuan', presented in a unique manner. In 'The Good Woman of Tehran', Farokhnia relocates the original story, which addresses themes such as love, poverty, and the impact of poverty on a nation's morality, to a poor neighborhood in Tehran. 'The Good Woman of Tehran' represents a new experience for this Iranian artist and her theater group, combining live and virtual performances on stage. In an interview with Voice of America, Sousan Farokhnia elaborated on the play's execution in London and its distinctive features. The project began during the COVID-19 pandemic when the group was rehearsing 'Macbeth' in Persian, intending to stage it in London. Initially, they thought the pandemic would not last long and planned to perform after some virtual rehearsals on Zoom. However, as the pandemic extended for nearly two years, they decided to create a new platform via Zoom called 'Reading', where they engaged in different experiences, including live virtual performances that received positive audience feedback. After the pandemic, they aimed to utilize their experiences to create a new work. Farokhnia chose Brecht's 'The Good Woman of Setzuan' because she had performed it in her youth in Iran, and some characters, like the gods, could be portrayed virtually, allowing artists from afar to participate live. She began writing the script, setting the story in a poor neighborhood in Tehran, emphasizing how a flawed economy affects a nation's morals. When Brecht wrote this play in 1938, he was migrating due to World War II, and the work was inspired by events of that era. The adaptation was deemed appealing for their audience, and rehearsals commenced after completing the script. A beautiful aspect of this project was the collaboration of many artists; upon announcing the project, over 40 individuals, including actors, artistic advisors, and technical staff from various countries, expressed their readiness to participate, helping shape the work and gain new experiences. In a context where politicians struggle to reach agreements for proper solutions for their homeland, the artists succeeded in completing this project through unity and collaboration. The set design features several shops with apartments above them, where windows form part of the stage. These windows serve as screens displaying images of actors performing as gods via Zoom, creating the illusion that they are interacting with the on-stage actors. Five characters appear virtually, with actors performing their roles on Zoom, and their images projected in these windows—three as gods and two as neighbors. Farokhnia, who left Iran before the revolution and lived in France for twenty years before moving to England, focused on the Iranian community and aimed to stage works in Persian at reputable theaters in London. While she is interested in classic works, she prefers adaptations that resonate with their culture. She strives to present her accumulated knowledge and experiences in Persian with Iranian actors. Occasionally, they have performed Iranian-related stories in English, which received a favorable response. Over the years, her theater group has engaged in diverse projects, conducting workshops and nurturing talented actors, some of whom collaborate with English groups while maintaining their connection to Iranian culture. They typically address social and ethical issues on stage, with Farokhnia expressing interest in psychology and social matters relevant to her homeland, seeking to explore the psychological traits that lead people to blame others without recognizing their own roles in societal issues. All alternative groups and artists working for their communities face budget challenges.