A post-modern work with a strange structure[1]
A look at the show Nefertiti by Jalal Tehrani
The author, apologizes to dear Jalal Tehrani for start writing very late, for a note on Nefertiti and of course, this delay is not due to laziness, but rather due to ignorance. Because Nefertiti is a strange work. It was written in memory of Hassan Moghadam and to revive his name. But it is a strange and difficult effect. Jalal's steps are clearly visible in the text and performance, with his usual honest transparency, from his moments of humor to the depth of deep constructions hidden behind this humor. From its dramatic crises to balanced approaches to absurd elements. From the familiar tone of Jalal to the insight and accuracy of his dialogues. But besides all this, you understand well that Jalal wrote his work for Hassan Moghadam. Even in execution. That's why I can always say that I enjoy Jalal's texts very much. Because he knows what he wants from the theater . His target is clear with his sight and with his language, and this language sits firmly on the characters, situation and story, and even on the performance. Both in terms of space and rhythm. The rhythm of the performance is such that the comic moments do not prevent the audience from being careful about the mentality behind the text, and sometimes the deliberate slowness of moments confronts the audience with the philosophy of the work, and the text has a lot of potential for different approaches in terms of rhythm, and that is why the performance and the text are highly responsive to each other.
I have already said that Jalal Tehrani knows classical theater and conventional drama very well, as well as modern theater. After those, it is possible to safely say: he knows postmodern theater and Nefertiti is a postmodern work without any claims and in the most honest way possible, and at the same time it has a strange structural strength, and that is why Jalal Tehrani theater can be called Comfort and should be loved.
Hosein Mahkam
[1] Hambastegi newspaper, 2002