Stories from the Rains of Love and Death: Four Plays from Iran
Translated by Soheil Parsa, with Peter Farbridge and Brian Quirt
Aurash
by Bahram Beyza’ie
translated and adapted by Soheil
Parsa with Brian Quirt, edited by Peter Farbridge
“Aurash” is a Persian myth
dating back over one thousand years. In the 1970s the fable was adapted
into a dramatic narrative by Bahram Beyza’ie. In Beyza’ie’s story,
Aurash, a naďve and human stablehand, becomes an unwilling player in
his country’s post-war border treaty. He must determine his people’s
fate by firing an arrow from the top of a mountain.
“[C]ontemporary resonance
from a story that sounds as old as time itself.”
—Vit Wagner, Toronto Star
The Death of the King
by Bahram Beyza’ie
translated by Soheil Parsa
with Peter Farbridge
A retelling of Persian history.
At the end of the Sassanian Empire, during the onslaught of Muslim invasions
into Persia, the last king of Persia, Yazdgird III, finds death in an
impoverished flourmill. Discovered red-handed by the King’s army,
the helpless Miller, his wife and his daughter must reenact their experience
with the King to prove their innocence – or else face a horrible death.
“[A] plot twisting narrative,
made up of layer upon layer of “truth” and fabrication.
—Jon Kaplan, NOW
Magazine
Stories from the Rains of
Love and Death by Abas Na’lbandian
translated by Soheil Parsa
with Peter Farbridge
A quintet of interrelated one-act
plays written in 1977. The play presents us with characters that are
gripped by forces and events beyond their comprehension. Emotionally
raw and psychologically unfathomable, they struggle to find reality
and solve the riddles of life in environments that conspire against
them.
“[A] fascinating piece, muscular,
yet curiously elusive.”
—Robert Crew, Toronto
Star
Interrogation by Mohammad
Rahmanian
translated by Soheil Parsa
Two youth, loyal to the anti-colonial
struggle in Algeria, cannot stop their acts of violence even after the
revolution has been won. Their stories tell a timeless truth: nothing
enduring can be built on violence.
“[A] dramatic language and
tempo that can bolt the spectator to her seat…”
—Soma, The Iranian
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