Sacred Defense Theatre and the Necessity of Revising Its Objectives, Policies and Strategies

Introductory:
As a wide spread phenomenon, war influences different aspects of life of a nation. And the reflection of war on social, political, economic, cultural and psychological aspects in a period of time of people’s lives remain for years after finishing of war. In this line, an important part of art and literature during the war or during the post war time is essentially allocated to reflecting and showing bitter realities or braveries and honorable championship of the war time.
Numerous films, plays, novels and paintings - which have been created about the war and defending independence and the national identity - form the major part of cultural and artistic products during the recent century. Reflection of resistance of people of Vietnam and Korea and fights of many of Latin American and African countries for gaining independence and the reflection of these humanitarian experiences in the art and literature of the world are the most expressive documents for emphasizing on the responsible role of the artists in such periods of time; because no war reaches to its end point when it finishes. Although the sound of shooting bullets and explosions is not heard any more but the social, economic, cultural and psychological side effects of war continues till years after that. And even when the peace and tranquility comes back to that country, the effects of war time continues to influence invisibly not only on economic and financial sources but also on souls and minds of future generations such that it can also affect on ideology and general view of people about the life.
In this respect, we can refer to the movement of theatre that was formed during the second half of the 20th century in Europe. These influences are observable in the nihilist and absurd play writers of Europe. These play writers were greatly influenced by the critical situation of the World War II.
The eight years of imposed war of Iran with Iraq is not an exception from this general rule. The historical experience of war with Iraq and defending our home land by relying on religious and cultural beliefs which proceeded by destructions as well as loses caused for lives and properties of people, unforgettable braveries and self sacrifices and the social side effects of war such as a large number of war immigrants, disabled people, war wounded people and numerous families of martyrs were not issues that people could simply forget them.
Meanwhile, the historical and mass memory of a nation requires continuous reminding of realities and experiences of past in order to be strengthened. And in this respect, the role of artists and intellectuals involved in cultural and artistic affairs is undeniable in reviving the historical memory; the same role that Homer played in the history of literature of Greece and / or Ferdowsi [Ferdowsi is a famous Iranian poet who lived in the 4th century. He has written the great poetry book of “Shahnameh”? which includes all ancient Iranian myths and history] played in preserving myths and transferring historical experiences and concepts to the future generations.
But accepting such role in our era seems difficult and impossible! What is the reason for that?
Our great artists and literary people have not created great works in the field of the imposed war. What is the reason for that? Didn’t we have great poets, writer as well as film and theatre directors during the eight years of the imposed war and during the post war time? So where are ever lasting works about the imposed war? Hasn’t war been wide spread, national and common enough in order to be the subject of great artistic works? So why aren’t most of the works inspired from war wide spread and international? Or may be subject limiting that was imposed on the art and literature field caused most of the artistic works in this field to become cliché.
What ever the reason is it does not change the reality that ever lasting and permanent artistic works - which has global aspect while being local at the same time - have not been created in Iran. And it is while almost 20 years passes since the end of the imposed war. And it there have been works created in this field, the number of them is as few as the number of fingers. And this weakness and lack is more observable in the field of theater and play.
It is a reality that most of professional artists of theatre have not shown serious tendency to this field. And it has been due to limitations and problems caused for performance. And another reality is that the movement of sacred defense theatre has not been a growing and progressing, influential and successful movement in the final evaluation after passing years since finishing of war. I say it relying on speeches of officials of artistic affairs and professional artists. I will quote these speeches later in this article.
The current research article is an effort made for finding roots of some of these obstacles and problems which prevent and stop growth of movement of “Sacred Defense Theatre”? as subject - oriented art. In this article I have made efforts to study the reasons of why this movement of theatre has not become popular among people and artists and consequently, I will discuss the necessity of revising the objectives and strategies of this genre of theatre in order to achieve new strategies and ways.
Firstly, I will briefly review the reflection of war on artistic works of other nations and review the history of this subject in other cultures. Then, I will name and categorize shortages and obstacles of the sacred defense theatre as mentioned by artists and people involved in this movement and art. I will also re-know the current gap between definitions and views of officials in charge of this field of art. From the other side, I will quote the definitions and views of artists. In this article, I will study and review the necessity of general revision of definitions, objectives and planning for sacred defense theatre as Walter Anderson has said in his post modern Article “What’s up Here?”?: “We - that have been surrounded by numerous truths - can give no help except revising our understanding about the concept and meaning of truth.”?
In other words, making efforts for describing the current situation, explaining it, benefiting from it and finding new strategies and solutions for that is impossible unless we revise the current understandings and definitions and achieve a common definition about the particular subject.

A Look at Reflection of “War”? in Dramatic Works of the World:

Reflecting the subject “War”? and “Defending the Home Land”? has a long history in the art and literature of different nations. In the written dramatic works, the history goes back to the 5th Century B.C. in the ancient Greece. In this respect, the plays “The Persians”? written by Aeschylus and “Trojan Women”? are the best examples of tragedy and comedy works in the field of war and defense in classic works.
Since the Renaissance till the current century, many writers including Shakespeare, Bertolt Brecht, Peter Wise, Romain Rolland, Fernando Arrabal and other writers have focused on the issue of war, victory, defense, defeat and / or the political and social side effects of war in their works. Each of these mentioned writers have judged and evaluated social and humanitarian relationships influenced by war in particular historical situations from their own particular points of view in their works.
Although in most of these dramatic works, war has been pictured as a destructive and murderous and these plays are generally considered as anti - war works but defending the home land, national pride and honor as well as public beliefs have not been condemned in any of these works. And at the same time, the mentioned concepts and values have been noticed and admired by the writers of those works.
As an example, I can refer to characters such as “Hector”? and “Hecuba”? in the Play “Trojan Women”?. These characters do not surrender to the attack of Greek aggressors; but they resist till the last moment of their lives in order to defend their home land and national honor. And in this way, they lose their lives. As another example, I can refer to the character of “Joan of Ark”? Jeanne arc in a play under the same title which has been written by Bernard Shaw. Bertolt Brecht has re-written this play with another point of view which has been titled as « The Trial of Joan of Ark of Proven ». The Play « Joan of Ark » which has been written inspired by historical documents is the story of a French young girl who wears the battle uniform and bravely stands against the attack and aggression of Britain to France. She calls the French people for defense and resistance. And despite disagreement of the church based on which women should not wear the battle uniform and participate in war she does not surrender and insists on the fact that she had heard the voice of God and she should defend her home land and country. She loses her life in this way. This young French girl is finally thrown into fire because she does not ignore her beliefs about fulfilling her national and religious duty. She stood against the narrow - minded church of that era. Therefore, she changes into an always - alive saint for the people of France and history of resistance. These examples are not few in the history of dramatic literature of the world.
During continual centuries and considering coming from different cultural and social origins or having different philosophical and political points of view, artists and writers have described war as a terrible and destructive phenomenon based on their humanitarian and artistic duties. In contrary to that, artists and writers have encouraged and admired defending human and humanitarian values. This way, writers and artists - in their works - have focused and developed actions and reactions of different sectors of the society as well as their braveries, championships, fears, hopelessness and / or taking advantage of the situation while describing and picturing a historical situation in war (Brecht). Or some times, these artists and writers have revealed wild characteristics of some people who behave like animals in such situations. They have evaluated and focused on complexity of human’s character and the fact that human’s mind and soul is influenced in such situation (Arrabal). And some times writers and artists have shown anxiety and worry of the war engaged human in philosophical and social frame works in their works (Jean Paul Sartre, Albert Camus and Samuel Beckett).
To be more precise, I can refer to a large number of works written be Brecht which were influenced by the World War II and against the Hitler’s Fascism. In this respect, I can refer to the plays such as “Schweik in the Second World War”?, “Mother Courage and Her Children”?, “The Visions of Simon Machard”? and “The Trial of Joan of Ark Proven”?. There are other works written by Brecht which is directly about the subject of war. In these works, while criticizing the bourgeois class of the society and the system of capitalism - that he believed that they were the root of poverty, illiteracy and unemployment - Brecht studies the influence of war on different sectors and classes of the society.
As an example, in the Play “Mother Courage and Her Children”? (that is a report of 30 - year wars in Germany), Brecht - with a critical point of view - focuses on business - oriented approach of the petit bourgeois class of the society in a war situation.
According to what Brecht has said and analyzed, in the last act of the Play “Mother Courage and Her children”?, The Mother Courage brings one piece of cloth and covers the dead body of her child instead of arranging a funeral ceremony and mourn and cry for her child. Then she gives money to peasants for burying her child. And so on …
Neglecting the fact that taking advantage of war situation for business has cost the lives of all her children, she wants to start her business (It means war) again.”? (BRSHN - 421 - 1357)
That is while Brecht takes his main position as defending from the home land against the aggressive forces and also fighting with sectarian and dogmatic opinions of the church at that time.
From the other side, a writer like Fernando Arrabal has pictured moments of domestic war in Spain in one of his plays under the title of “Guernica”?. In this play, the play writer has noticed the influence of war on the relationships of people. In the Play “Guernica”? - which its exterior and apparent theme is war - Fernando Arrabal actually focuses on sufferings of people as well as their broken relationships and also the fight of human with his / her contradictions as well as escape of human from loneliness and human’s enthusiasm for common life.
By benefiting from war situation, Fernando Arrabal has pictured the action and re-action of human when facing with events, issues and problems of the modern world. By showing the innocence of children beside violent and wild atrocities of adult people, Fernando Arrabal points to the fact that human can choose to be angel or evil in the critical situation of war. He actually points to the fact that in the situation of war, human can choose to let his divine characteristics improve or his devil characteristics.
In brief, plays and works related to war and defense are very different and diverse. And any artist has developed this subject and has written plays in this field from his / her point of view and based on his / her ideology and personal interests.
We can how ever find important common aspects in all of these plays and works. And it is the most important characteristic and reason that changes these works into works beyond historical, geographical and cultural borders and has made them ever lasting works.
This characteristic is nothing except the belief that all of these artists compromise on the fact that this global and humanitarian message should be transferred that generally speaking, war has an ugly and terrible face and the damages rooted in war can not be compensated; but it is always necessary and admirable to stand and resist against aggression and defend humanitarian rights and values. At the same time, it is also a reality that war - despite being very ugly – obtains the most shocking, influential and richest raw material for writers and artists to create ever lasting works and plays.
The mentioned characteristic is the characteristic of artists and writers such as Aeschylus, Euripides and Aristophanes in ancient Greece, Shakespeare, Bertolt Brecht, Fernando Arrabal, and many other writers as well as film makers such as Roman Polanski, Andrei Wajda and others.
Here, we come to an important question: How much has sacred defense been inspiring for our artists to create world wide works? It is while we know the fact that t6he eight year defense of Iranian people against the aggression of Iraq has doubtlessly influenced and even changed different aspects of life of people in a national level.
A complete scientific discussion in this field requires conducting another independent research that can evaluate the literary and artistic works which were created in different fields of film, theatre, music, painting, photography, sculpture, poetry and story during the last three decades. It should be studied and evaluated by experts. Then the position and percentage of cultural and artistic products in the field of war and “sacred Defense”? should be identified in comparison with other works (Here, I obviously mean considerable and noticeable works that have been produced by writers and artists in a professional level.)
I as the writer of this article did not believe that I could conduct such vast and great research. I think that conducting such vast research requires gathering of expert research teams in different artistic fields that can conduct such big research within enough time and with enough amount of budget.
In this article, I should suffice to have a comparative look at the reflection and signs of war in the dramatic works of other nations and then find out the shortages, weaknesses and obstacles of movement of “sacred Defense Theatre in our country. Then I will present probable strategies and solutions for these weaknesses and obstacles as well as shortages.

Problems and Obstacles of Sacred Defense Theatre and Necessity of Having Major Revision on It

The eight - year war of Iraq with Iran and defense of Iranian people from their home land as well as national and religious beliefs and values and also their humanitarian rights is not separated from general and global rules that are applied on other unfair wars. Therefore, this historical bitter experience - like other bitter experiences of human can provide committed and creative artists of our country with a large number of diverse, shocking and honorable subjects. It can still provide artists with such subjects.
But unfortunately - according to the evidences and opinions that will discuss later in the article - both cultural officials of the country and professional artists believe and declare that there are still merely few dramatic works in this field that are considerable and ever lasting and beyond mottos and cliché; because having a surface view and full of motto about life, existence of multiple management, emphasizing on personal tastes and opinions in this regard, having no transparent strategic objective, lack of programming and clear perspective about this genre of theatre and the gap between views of managers and officials in charge of sacred defense theatre from one side and the gap between the views of managers and artists from the other side have all resulted in the fact that “Sacred Defense Theatre”? does not grow and flourish and develop as it deserves; because professional and well known artists are not present in this field of theatre. By the way, there is no common definition of the words “Theatre”?, “Sacred Defense”? and “Holiness”?. It has been how ever changed into an ineffective and marginal movement in theatre of our country during time.
I should how ever remind the fact that efforts have been made in the field of photography, poster, collecting and publishing memories of combatants and war wounded people during the recent years. To a large extent, these efforts have been successful; but unfortunately - based on evidences and statements of most of officials and artists in charge of this genre of theatre - no considerable success has been achieved in the field of theatre and dramatic arts. By a simple review on the entire interviews, surveys, articles published in the news papers, bulletins and publications related to sacred defense - that were about obstacles and problems of this genre of theater - we come to the result that we did not have few problems and obstacles in this way. We also came to the result that the known damages beside particular suggestions have been continuously repeated during the last one or two years.
Without getting into details, here I mention examples of pathological views and opinions presented by different people and artists about the current situation of “Sacred Defense Theatre”?. I intend to achieve definite strategies and solutions by evaluating and colleting all the view. After reviewing these different opinions and views presented by different artists and officials, we will reach to a definite and clear categorization of the problems and obstacles the prevent growth of this genre of theatre. They are briefly categorized as the following five titles:
1 - Making “Sacred Defense Theatre”? exclusive and separating it from the body of theatre of the country
2 - Being subject - oriented and limitation of subjects
3 - Having surface look at this genre of theatre and being influenced by mottos and having a cliché approach
4 - Having no public performance during the year and limiting performances of sacred defense theatre to a festival just once a year
5 - Existence of a fundamental gap between views and lack of a common definition about the subject
We should not forget the fact that we will find out that these problems and damages are all related to each other and affect on each other.
1 - Making “Sacred Defense Theatre”? exclusive and separating it from the body of theatre of the country
In the first step, you should ask yourself whether “Sacred Defense Theatre”? is an exclusive and separated phenomenon in our national art and culture that does not belong to every one and it should become separated from the body of theatre of our country.
As for the status of “Sacred Defense Theatre”? in the professional theatre of our country; Dr Mahmoud Azizi, the university professor and director of theatre says: “Sacred Defense Theatre has not yet stepped into the professional field. We do not how ever have professional theatre in our country either. Sacred defense theatre has the capacity and deserves to become public and popular; because it is a popular phenomenon and belongs to all the Iranian people. And it does not belong to a particular sector or class of the society. Sacred defense theatre can not be the flag holder of a particular sector or class of the society. “Sacred Defense Theatre”? is a genre of theatre in which every one has been involved in a direct or indirect way.”? (Daily Publication / Issue No 3 / 1386 [2007 - 2008] / 14)
He also believes that professional artists should be invited to be active in this field of theatre more and more.
In this line, many of artists and officials in charge of sacred defense theatre believe that “problems of sacred defense theatre are not separated from the problems of theatre of the country.”? (Hossein Astaneh / Daily Publication / Issue No 5 / 1386 [2007 - 2008] / 14)
That is because “sacred defense theatre is a branch of existing theatre in our country”? (Yadollah Agha Abbasi / the same reference)
And consequently, “obstacles and problems that sacred defense faces today are the same obstacles and problems that our today’s theatre faces with”? (Hossein Farrokhi / the same reference)

2 - Being subject - oriented and limitation of subjects
From the other side, it seems that having subject - oriented theatre and limitation of subjects in sacred defense theatre is one of the main obstacles in the way of growth of this genre of theatre.
That is why some people believe that eliminating these limitations and some of the unnecessary red lines will encourage professional writers and artists to enter this field and start activities in this field. “Plays and limiting writers to considering the red lines are the most important issues that should be noticed. After passing many years after the phenomenon of war, it is better to ignore and forget the red lines and let the hands be open to write plays freely.”?
As for having a critical view about war and to criticize the view of “Foundation for Preservation of Monument and Dissemination of Values of Sacred Defense”? which is limited to considering merely one aspect of sacred defense; Mehrdad Rayani Makhsous, the theatre director and play writer and Head of “City Theatre Complex”? says: “It may be the part that Foundation for Preservation of Monument and Dissemination of Values of Sacred Defense”? has problem with … War had thousands of positive points. It had a few weak points too. Why don they insist on not mentioning these weak points? Strong and positive points become meaningful when they are pictured and narrated next to the weak points. They should be presented next to each other in order to be meaningful. Foundation for Preservation of Monument and Dissemination of Values of Sacred Defense”? believes that it is its motto to preserve and propagate the values of sacred defense. So, it becomes one - dimensional view. This foundation wants that every one looks at the sacred defense from one dimensional point of view. Therefore, many artists do not enter this game and do not get active in this field.”?
In an article under the title of “Pathology of Sacred Defense Theatre”? that has focused on the current situation and the ideal situation of sacred defense theatre in details, Mr Masoud Tavakkoli has elaborated on the obstacles and problems that sacred defense theatre faces with. In parts of this article, Mr Masoud Tavakkoli has written as the following: “Severe supervisions and limitations which are applied on performance of sacred defense theatre cause this genre of theatre not to have and show courage, innovation and creativity. Theatre directors and groups look for the plays that can receive permission from the supervision groups in order to be performed in the festivals or public performances.”?
As for the current crisis in sacred defense theatre and limitation of subjects in this genre of theatre, Saeed Kashan Fallah, the theatre director and Head of Dramatic Affairs of “Hozeh Honari of Islamic Propagations Organization”? says: “Resistance Theatre requires conducting implemental and practical researches in order to escape from the formed crises and straits.”?
He further continues: “When the sacred defense theatre enters the field of theatre it is influenced by limitations that do not let this genre of theatre grow; but the problem is the fact that passing through this situation is not possible merely by improving the plays; but it mostly depends on the type of look, approach and performance as well as action of theatre artists and related officials.”?
Art of Partiality:
Here, it is not bad to take a look at definition of practical fields and limitations of art of partiality from the point of view of Edward Lucie Smith:
Edward Lucie Smith is a poet, historian and art critic. He is one of the most outstanding thinkers and experts of contemporary arts of the world. In the Book “Concepts and Approaches in the Last Artistic Movements of the 8th Century”?, Edward Lucie Smith has written about criticizing the art of partiality. In parts of this book; we read as the following:
“Natural tendency to humiliating global feelings (Common feelings) of human is one of the bases of the subject oriented art or art of partiality.”?
While bringing examples of Marxist and feminist bias art in the 20th century, Edward Lucie Smith reminds that “Art of Partiality has increasingly become far from understanding aesthetics. And this tendency - in action - has been substituted by a kind of effort in the way of propagating soulless but aggressive moralities.
In continuation, Edward Lucie Smith writes as the following:
“What is recognized and known as “Art”? and in other word, what we call “Art”? is based on the motivations that are finally rooted in the rule of “Visual Joy”?. Willingness for creating artistic works and the enjoyment that is hidden in it are always rooted in the function of aesthetics and creating attraction. Obeying moralities (Politics and / or particular motto) as a target and insistence on being partial and being loyal to that will finally result in a kind of boring work and roughness (Cliché works).”?
Edward Lucie Smith believes that the “Art of Partiality”? is limited and limits the artist. According to him; a cliché work which is full of particular mottos and is bias is the issue about which the artists of the first decades of the new millennium think seriously. And they have to find a way towards respectable and honorable art through those mentioned obstacles. Edward Lucie Smith believes that the effort that today artists of the world make is similar to the effort that the first modernist artists made for escaping from limitations and clichés that existed in the academic art of the 19th century. Therefore, it seems that the modern art will probably face with challenges more serious than what it had caused before the modern art in order to make efforts to find new strategies, ways and approaches.
But being “Art of Partiality”? is not our main problem regarding “Sacred Defense Theatre”?; because its subject - it means war and defending from home land as well as religious and cultural values - does not exclusively belong to a particular sector, class or groups of the society. Not understanding this problem is actually the first problem.
In the second step, we should realize the point that an eight - year war - it means a war that lasted two times longer than the World War II - should not and can not be limited to propagating few particular subjects and speaking merely about limited particular points.
In this respect; Dr Ahmad Kamyabi Mask, the Researcher and University Professor reminds play writer of sacred defense theatre as the following:
“It is not necessary for the plays that are written under the title of sacred defense and about the war to focus merely on the events of war; but they can use the events and problems of post - war time in which the war wounded people are involved as the raw material and subject of these plays. Concentrating on one particular subject and / or a particular motto in the imposed war can cause the artists - and consequently the audiences - to neglect the other aspects of that event.”?
In this respect; Kourosh Zare’ee, the play writer and theatre director has said: “Realities may not some times be the very similar to our mentality; because we are all human beings and we should pay attention to the fact that there were only fourteen innocent people in the world [It refers to Hazrat Mohammad, Hazrat Fatemeh, his daughter and the 12 innocent imams of the Shiite] and that’s all. There are some people who want to say that every individual person - without exception - in battle fields merely thought about praying before God and asking for God’s forgiveness. It is while it is not the reality. We can not show and narrate the reality of war by showing combatants cry and pray before God. The reality of war is some thing else that should be told by the people who are aware of that. And officials should permit these people to tell what they know about the reality of war. And if there are people who do not know the reality of war should conduct researches about this important point instead of giving mottos on the stage of theatre.”?

3 - Having surface look at this genre of theatre and being influenced by mottos and having a cliché approach

Limitation of subject in sacred defense theatre has caused absence of many of professional play writers in this field from one side and from the other side, it has caused artists to be influenced by mottos and tendency for repeated cliché works in this field in some cases.
As for being influenced by mottos and tendency to cliché subjects in sacred defense theatre; from the point of view of an official in charge of this genre of theatre, Hossein Mosafer Astaneh, Writer, Director and Managing Director of “Association of Islamic Revolution and Sacred Defense Theatre”? has said: “Unfortunately, the artistic society of our country has limited its knowledge about sacred defense to a cliché knowledge. Existence of this view in the works of artists has caused creation of cliché works and consequently it has caused the audiences to take position against this genre of theatre. As an example, I can refer to the point that the enemy forces are pictured as fool people. And opposite to that, Islam combatants [Iranian combatants] are pictured too simple. And it is the most important element that causes the audience not to believe and accept this genre of art works.”?
Dr Majid Sarsangi, the University Professor and Secretariat of Research Conference on Resistance Theater has elaborated on the reason of surface look at sacred defense theatre. He has been the secretariat of this research conference for two years. He believes that lack of good and strong plays in sacred defense genre of theatre is the reason of surface look at this genre. In this respect; he has said as the following:
“Unfortunately, play writing in the field of sacred defense has never become a genre. And it is not true that we never witnessed great literary movement in the field of sacred defense theatre. … As for one of the main problems of plays in this field; I can refer to repeated subjects and characters in the works in the field of sacred defense. These characters and subjects are so repeated that most of our sacred defense plays have major similarities in plots and characterization.”?
As it was mentioned before, limitation of subjects in sacred defense theatre has not only caused surface look at this genre of theatre and being influenced by mottos, but also it has caused many of play writers to be indifferent about this genre of theatre. Ali Reza Naderi, one of the active and famous theatre directors and play writers in the field of sacred defense theater has well elaborated on the tight relationship of these two issues. In this respect; he has said as the following:
“In the sacred defense theatre, we should use and get help from professional artists of theatre who are concerned about the subjects related to war with a complete belief in the sacred defense. And cultural foundations should support these artists.”?
Hopelessly, he spoke about the current situation of policy making for sacred defense theatre and added: “In the current situation, I - as a person who has been in battle fields personally and experienced war closely - prefer to keep silent and wait for the day that comes in the future and it is not like this any more. Until that day, we are all forced to tolerate this surface look in the sacred defense theatre and particularly in the field of play writing of sacred defense.”?
Here, I should remind that it is not only artists and play writers in the field of sacred defense theatre who confess this surface looking and cliché works and criticize it. It is interesting to know that cultural and artistic officials of different foundations and organizations confirm this fact in any opportunity they gain. They criticize surface looking and cliché works too. Therefore, it is essential to find the root of the problem.
While announcing long term programs of “Hozeh Honari”? in the field of art and literature of sacred defense and in respect with attracting audience and preventing production of cliché art works; Hassan Bana’eeyan, Head of Hozeh Honari has said as the following:
“The movement and genre of religious art - which should be a popular art - is gradually moving towards becoming a governmental art. Of course, it is necessary to absorb support of the government. Therefore, it is not a bad point to become governmental from this point of view; but it is acceptable such that it does not substitute the demand of people.”?
To confirm this statement, Mehrdad Rayani Makhsous, the theatre director and play writer and Head of City Theatre Complex has said as the following:
“At this particular period of time, people have achieved a completely humanitarian look about sacred defense. They do not have a political and partial look at sacred defense at all. It means that it is much better that the government becomes far from this field and lets the people participate and take action in this field. And if the government wants to influence on this field it means that “I want to filter it”?; but people have achieved a clear, respectful and honorable in this regard.”?
Hamid Azerang, Play Writer of the Play “Two Meter in Two Meter War”? believes that “We can become far and escape from production of cliché works and surface looking at this field if we show the real life - as it really existed - in the plays in this genre.”?
As for this crisis; Hossein Parsayee, Head of Dramatic Arts Center has said as the following: “I believe that sacred defense theatre - neither its structure nor its subject - has achieved required flourishing and growth. What can be solution for this genre of theatre is a creative and new look.”?
But Hamid Azerang believes that: “Unfortunately, new look at this genre is opposed and disagreed. And I am not able to write as other people want to think. As a person who has always been concerned in sacred defense, I have to be away from theatre and let other people work; the people who …
”?
He further continued: “I will leave this field too. I will leave and close the door of my home to me like other people. I keep silence and do not say a word any more.”?
In this respect, Kourosh Zare’ee, one of the artists in this field warns that “We should think of a solution before it becomes too late. Famous artists in this field have become disillusioned and disappointed one by one. They get away from this field and stay in isolation. And only people remain on the stage that have not have had a concern under the name of sacred defense. They do not have this concern of sacred defense at the present time either.”?
Considering the views that were mentioned, we can some how know the reason of why many of dramatic works in sacred defense theatre have become superficial and cliché. And we find out the “Cause and Effect”? re4lation between different elements which result in such situation. But it is not the whole story; because we have not yet basically studied and reviewed two elements that have been influential on stagnation of this movement and this genre of theatre. They are namely being performed just in festivals and also existence of fundamental gap between different points of view. These two elements are the most important obstacles in the way of growth and flourishing of sacred defense theatre.

4 - Having no public performance during the year and limiting performance of sacred defense theatre to a festival once a year

Not performing the selected plays in the field of sacred defense for public during the year and limiting this genre of theatre to one annual festival are other reasons of isolation of this genre of theatre. This genre of theatre has not become popular due to mentioned reasons. This reason has been constantly referred and mentioned in most of interviews conducted with people involved in sacred defense theatre. And it questions objectives and philosophy of existence of such festival.
In an article under the title of “Why Do we Want Hold Festival for Sacred Defense Theatre?”?, Behzad Sedighi has elaborated on the indefinite objective of sacred defense theatre festival. In parts of his article, he has written as the following:
“Have we ever asked us why we hold festival? What is the target of this festival and what is the achievement of this festival for audiences and sacred defense theatre? And what is basically intended to happen in the festivals of sacred defense theatre? What things do these sacred defense theatre festival search for?”?
Mohsen Babayee, the Editor - in - Chief of publication of “Naghsh - e Sahneh”? has allocated one of the editorials of one of the issue of this publication to the status of sacred defense theater. In this editorial, he ahs severely criticized the unstable situation of sacred defense theatre festival. He has written that there is no future for this festival and consequently the current situation of sacred defense theatre festival is critical. In parts of this editorial, he has written as the following:
“Evidences show that a propagation event in the weakest type is being formed in sacred defense theatre festival. As the representative of artists in the field of sacred defense theatre, I think that it is necessary to remind that such actions do not cause any improvement in this genre of theatre. Besides, it makes the situation worse and more critical. Once more, I emphasize on the fact that we should decide on objectives of this festival once for ever. We should plan a perspective for this festival. And we should take steps towards these objectives and targets which are known for every one involved in this genre of theatre”?
Masoud Tavakkoli, one of the other people active in the field of sacred defense theatre has written an article under the title of “Pathology of Sacred Defense Theatre”? in the next issue of the same publication. In part of his article in this publication, he has written as the following:
“Sacred Defense Theatre is limited merely in a festival. And this festival is not either taken serious by the officials of theatre of the country.”?
To confirm the statements of Masoud Tavakkoli, Mehrdad Rayani Makhsous has referred to stop of holding sacred defense theatre festival for two years in a round table that was held for discussing about this problem. He has said as the following: “The situation of sacred defense theatre is a chaotic situation. … the thetare of sacred defense is stopped as soon as the festival of sacred defense theatre was stopped. We do not basically have a movement and genre under the name of sacred defense theatre.”?
To support and confirm this point of view, Hossein Fadayee Hossein, one of the active writers in the field of sacred defense has said as the following:
“We do not have a constant movement and genre under the name of sacred defense theatre. And we claim that this movement of theatre is being eliminated when ever we think we should find a solution for that. Then we intend to hold a festival of sacred defense theatre in order to tell every one that this movement and genre of theatre is still alive. It is while the form of holding sacred defense theater festival shows that it functions merely as a fortifying ampoule that causes a sick person to move and be alive for a short time; but this genre of theatre is again forgotten and the sick person goes back to bed again.”?
There has been a round table held in presence of Mehrdad Rayani Makkhsous, Hossein Fadayee Hossein, Jamshid Khanian and Mohsen Babayee Rabee’ee who are all active people in the field of sacred defense theatre. The report of this round table has been published in the publication of “Naghsh - e Sahneh”? last year. At the end of this round table, Mehrdad Rayani Makhsous has come to the result as the following:
“At the present time, we four people agree to say that sacred defense theatre is based on public performances; but festivals should be formed and held too. Officials should revive this movement when they start it. They should not just sit and remain indifferent about this genre of theatre. Our problem is the fact that we have only one responsible organization. And that only responsible organization does not work as well as it should. I mean it does not work at all.”?
It is obvious that by mentioning a responsible organization, he meant “Foundation for Preservation of Monuments and disseminations of Value of Sacred Defense”? which its artistic policy making is constantly criticized by the artists and people active in the field of Islamic Revolution and sacred defense theatre. And it reminds of a point that may be the root of many of problems and obstacles in the way of growth and flourishing thi9s movement and genre of theatre. And that is the gap between points of view of officials in charge of this genre of theatre and the people who are active in this field of theatre from one side and artists in this field from the other side. And I believe that it is the most important obstacle and problem in the way of growth and flourishing sacred defense theatre; because it will not be simple to build long - term objectives, policy making and programming for sacred defense theatre by the time that we do not compromise on a common definition about the subject.

5 - Studying the gap that exists between views and possibility of achieving to a common definition about the subject

Points of view of officials and artists in the field of sacred defense theatre are not close to each other; but they are some times in contrast to each other. But it is unfair to say that the main responsible organization of this genre of theatre (Foundation for Preservation of Monuments and Dissemination of Values of Scared Defense”? does not take any action in this regard at all; because this foundation has made considerable efforts and carried out considerable activities in literary and artistic fields including publishing memories of combatants and the war wounded people as well as the literature of resistance and also studying and evaluating the current books in different artistic fields. But in the field of theatre and play, evidences show that the foundation has not acted very successfully. And it exactly goes back to the difference between points of view of responsible organizations and people in charge of sacred defense theatre as well as other people active in the artistic fields related to this genre.
We should not how ever forget the fact that lack of experts and specialists of theatre in “Foundation for Preservation of Monuments and Dissemination of Values of Sacred Defense”? makes the situation more critical.
That is the reason of why no clear definition of “Theatre”?, “Defense”? and “holiness”? has been presented which is compromised by both sides. And consequently, the objectives of sacred defense theatre, perspective of this genre of theatre and policy making for that have been unclear and ambiguous among many of artists who are interested in this genre of theatre. And naturally, it will not be possible to develop a long - term programming for this genre of theatre.
Basically, there is not yet necessary common opinion about the question whether the nature of sacred defense theater or art and literature is a cultural movement and genre or a moral movement and genre or an ideological and political movement. Although it seems that this movement or genre is a combination of all of the mentioned things; it means that it is ideological, moral and political while considering its concept but it is artistic and cultural while considering its form; but borders and limitations of any of them and the fact that which of the are prior to the other one should be still discussed.
But it is unfair to say that the main responsible organization of this genre of theatre (Foundation for Preservation of Monuments and Dissemination of Values of Scared Defense”? does not take any action in this regard at all; because this foundation has made considerable efforts and carried out considerable activities in literary and artistic fields including publishing memories of combatants and the war wounded people as well as the literature of resistance and also studying and evaluating the current books in different artistic fields. But in the field of theatre and play, evidences show that the foundation has not acted very successfully. And it exactly goes back to the difference between points of view of responsible organizations and people in charge of sacred defense theatre as well as other people active in the artistic fields related to this genre.
We should not how ever forget the fact that lack of experts and specialists of theatre in “Foundation for Preservation of Monuments and Dissemination of Values of Sacred Defense”? makes the situation more critical.
That is the reason of why no clear definition of “Theatre”?, “Defense”? and “holiness”? has been presented which is compromised by both sides. And consequently, the objectives of sacred defense theatre, perspective of this genre of theatre and policy making for that have been unclear and ambiguous among many of artists who are interested in this genre of theatre. And naturally, it will not be possible to develop a long - term programming for this genre of theatre.
Basically, there is not yet necessary common opinion about the question whether the nature of sacred defense theater or art and literature is a cultural movement and genre or a moral movement and genre or an ideological and political movement. Although it seems that this movement or genre is a combination of all of the mentioned things; it means that it is ideological, moral and political while considering its concept but it is artistic and cultural while considering its form; but borders and limitations of any of them and the fact that which of the are prior to the other one should be still discussed.

Conclusion:
Therefore, according to what we mentioned and discussed in this article, it is natural that there is disagreement on bordering concept of this genre and defining its subject limits. And there are also different opinions and tastes about the quality and artistic form of sacred defense theatre. And due to existence of these different views and tastes we some times face with contradictory opinions about the reasons of growth, flourishing and / or stagnation of sacred defense theatre.
As an example, I can refer to the following opinions given by different officials. We can see contradictory opinions in them. For instance, the Deputy of Ministry of Culture and Islamic Guidance for Artistic Affairs (Dr Mahmoud Hassan Imani Khoshkhoo”? has said: “Sacred Defense Theatre has not met expectations of this genre yet.”? (Daily Publication / Issue No 2 / 1386 [2007 - 2008] / 4
Or as it was mentioned before; Hossein Parsayee, Head of Dramatic Arts Center has said: “Neither considering structure nor considering subject, sacred defense theatre has not yet achieved required flourishing and growth.”?
Despite the fact that most of the people and artists who are active in the field of sacred defense theatre believe that Sacred Defense Theatre Festival is a weak propagating event and like a fortifying ampoule, the Deputy of “Foundation for Preservation of Monuments and Dissemination of Values of Sacred Defense”? for Artistic Affairs says that “Today, Sacred Defense Theatre Festival has changed into an active and cheerful festival. It has found its way during the last years. This festival has been able to present it as one of the most outstanding and creditable festivals in the field of culture and art, especially in the field of theatre.”?
Existence of very different views among officials, artists and people has caused gap between artistic, moral and political views among them; because people and audiences are from two different generations. They have two different views about war. One group is the generation that has seen and touched war closely. And the other group is the generation of post - war time.
According to Ms Chista Yasrebi [Play writer]; the first generation has experienced war and still has an ideal look at the event of war and sacred defense. And the new generation is more realistic and looks at the issues related to sacred defense from pathological point of view. (Daily Publication / Issue No 2 / 1386 [2007 - 2008] / 7)
And it is natural that idealistic views and realistic views are opposite each other.
At the same time, our expectations about the cultural and artistic movement of sacred defense do not conform to limitations and border lines that we have considered for that.
From one side, we want to make holy all the affairs that are related to our war and defense (It means that we want to put them out of access) and from the other side, we expect the artists to transfer the realities of war to the future generations.
From one side, we want to make braveries and championship of religious young combatants and people of our home land ever lasting. And from the other side, we do not want to talk about tragic events, destructions and ugliness of war in their individual and social aspects.
From one side, we are concerned about preserving and propagating religious and divine values and from the other side, we are concerned that these border lines and limitations and extent of social criticism about war are not neglected.
Here, artists have been caught into a historical paradox.
But truly, have other play writers of such genre of theatre been caught in such strait during the history?
To reply to the question what obstacles and problems sacred defense theatre have at the present time, Yadollah Agha Abbasi has referred to the fact that we want to make the sacred defense as a holy phenomenon and make it out of access. He has said: “… In the situation in which such concepts are defined from this point of view, we can not easily characterize and create drama. As an example, the work that Aeschylus did in the Play “The Persians”?, show his intelligence as a play writer artist. The Play “The Persians”? is actually a play that criticizes Greece but as narrated by others. (Daily Publication / Issue No 4, 1386 [2007 - 2008] / 14)
Despite ideological beliefs of Bertolt Brecht, if he could meet expectations of a committed artists in the Play “The Trial of Joan of Ark of Proven “ it means that he has been successful to condemn war and venerate defense. And at the same time, he has been successful to picture and criticize the social situation of that period of time in his play. Why couldn’t our artist act this way?
If artists such as Brecht, Aeschylus, Euripides, Arrabal and other artists succeeded to honor braveries and self sacrifices of people during war and meanwhile they pictured the fact that the monster of war is destructive why cant our artists at that way and write in that way?
By writing their plays in a successful way, artists such as Brecht, Aeschylus, Euripides, Arrabal and other artists caused the audiences and people to feel respect and honor about the innocent blood of the people who were killed in the way of defending their home land and beliefs. They also caused people to feel hatred about war. This way, they created world wide and ever lasting artistic works.
Here, we again feel the historical necessity for realizing and knowing the obstacles and problems in the way of growth of sacred defense theatre and reforming the form and structure as well as basis of this genre of theatre.
In this respect and in his message on the occasion of the 12th Festival of Sacred Defense Theatre; Brigadier General Pasdar Mir Feysal Bagher - zadeh, Head of “Foundation for Preservation of Monuments and Dissemination of Values of Sacred Defense”? has said: “Reforming any developing movement is possible when we recognize and know the first obstacles on its way and eliminate these obstacles.”?
Deputy of “Foundation for Preservation of Monuments and Dissemination of Values of Sacred Defense”? for Artistic Affairs also elaborated on the objectives of holding the 12th Festival of Sacred Defense Theatre in 1386 [2007] and described it as revising, knowing its damages and improving the quality of sacred defense plays.
According to what was mentioned in this article; there is no doubt that the path of improving and flourishing sacred defense theatre passes through revising its objectives and major policy making for this movement and genre of theatre; the policies that can be and should be rooted in the document of cultural policy of Islamic Republic of Iran approved in 1371 [1992 - 1993]; it means the same document which its Article No 2 emphasizes on “Establishing unity in process and cultural coordination among different state organizations of foundations”?. The Article No 5 of the same document emphasizes on “Supporting multiplicity, diversity and freedom of public cultural activities”?.
Therefore, it is essential to revise the definition of sacred defense art and develop its concept limits such that we achieve a common, national and not exclusive definition about it. As a matter of fact, it is required in order to cause changes and find new strategies and approaches for this cultural and historical movement. As Habermas has said: “In order to prevent culture to be torn apart and separate from the field of life we need to change them and find the status of aesthetic experience when they are not basically expressed based on personal tastes and judgments; but the time that they are used in order to discover a particular historical situation.”? (Cribe / 1381 [2002 - 2003] / 175)
What Habermas actually meant and the thing that is rooted in arts and experiences expect that it fills the gap that exists between knowledge, moral and political dialogues through which a way towards unity of experience (Common experience) is opened. (The same reference, the same page)
Therefore, the culture will be torn apart and there will be aimlessness in art by the time that efforts are not made for achieving one common definition about the bases of cultural policies and its objectives among different organizations and foundations in charge of culture and art of our country.

References:
1 Arrabal, Fernando - Theatre of Arrabal (Five Plays) - Translated by Iraj Nour and Hamid Sa’ati - National TV of Iran - Tehran - 1352 [1973 - 1974]
2 - Akbar - zadeh, Taghi - Knowing Resistance Theatre - Volume 1 - Association of Islamic Revolution and Sacred Defense Theatre - Tehran - 1385 [2006 - 2007]
3 - Brecht, Bertolt - The Visions of Simon Machard - Translated by Abdol - Rahman Sadrieh - Agah Publication - Tehran - 1354 [1975 - 1976]
4 - Brecht, Bertolt - About Theatre - Translated by Faramarz Behzad - Sepehr Publication - Tehran - 1358 [1979 - 1980]
5 - Brecht, Bertolt - The Saint Joan, Slaughterhouses - Translated by Abol - Hassan Vafa - Maziar Publication - Tehran - 1358 [1979 - 1980]
6 - Khanian, Jamshid - Dramatic Situations of Sacred Defense - Abed Publication - 1383 [2004 - 2005]
7 - Cribe, Jan - Modern Social theory From Barsonez to Habermads - Translated by Abbas Mokhber - Agah Publication - Tehran - 1381 [2002 - 2003]
8 - Keyhan News Paper - Year 64 - Issue No 18579 – Sunday, Mordad 8th 1386 [July 30th, 2007]
9 - Lucie Smith, Edward - Concepts and Approaches in the Last Artistic Movements of the 20th Century - Translated by Dr Ali Reza Samee - Azar - The Fourth Edition - Ghatreh Publication - Tehran 1380 [2001 - 2002]
10 - Daily Publication of the 12th Festival of Sacred Defense Theatre - Issue No 2 - Sanandaj - 1386 [2007 - 2008]
11 - Daily Publication of the 12th Festival of Sacred Defense Theatre - Issue No 3 - Sanandaj - 1386 [2007 - 2008]
12 - Daily Publication of the 12th Festival of Sacred Defense Theatre - Issue No 4 - Sanandaj - 1386 [2007 - 2008]
13 - Daily Publication of the 12th Festival of Sacred Defense Theatre - Issue No 5 Sanandaj - 1386 [2007 - 2008]
14 - Naghsh - e Sahneh - Specialized Publication of “Association of Islamic Revolution and Sacred Defense Theatre”? - Issue No 13 - Farvardin and Ordibehesht Months of 1386 [March 21st to May 21st 2007]
15 - Naghsh - e Sahneh - Specialized Publication of Association of Islamic Revolution and Sacred Defense Theatre - Issue No 16 - Mehr and Aban Months of 1386 [September 23rd to November 21st 2007]
16 - Nozari, Hossein Ali - Post Modern and Post Modernism, Definitions, Theories and Functions - Publication of Naghesh - e Jahan - Tehran - 1379 [2000 - 2001]
17 - Magazine of Theatre Monthly Magazine of Association of Theatre (Specialized Publication of Theatre) - New Editions - Issue No 84 - The 8th Year - Mordad 1385 [July - August 2006]
Reference: The Book “The Lost Note”? - Selection of Articles of the 4th Research Conference on Resistance Theatre - Compiled and Edited by Mohsen Babayee Rabee’ee - Association of Islamic Revolution and Sacred Defense Theatre