Ali Javidan review of Autumn Sonata theater directed by Jalal Tehrani
What Jalal Tehrani does with Ingmar Bergman's Autumn Sonata is to extract the core of the drama from his text. Which, by avoiding any accentuation, and observing other measures, leads to the reproduction of the same concept that is hidden in the original core, but this time in a new format. The format, which has been emptied of the emotional context of Bergman's text and has been placed in the service of presenting the central concept of that text from another direction. Bergman's text has two main characters (mother and daughter) and several secondary characters. The mother is a more or less reputable musician who has come to her granddaughter after seven years. And facing her daughter's exposed feelings, she reveals another facet of her personality: A musician who presents the works of classical music greats with the highest quality which means that she is a means to express their feelings, but she herself is unable to express and understand her feelings. Now and in this encounter, she finds a possibility to explain herself, to be accused, and to understand her limitations and spiritual weaknesses. The girl is an average musician who has no place in the music scene. Her professional experience only consists of playing in the church and a few other limited groups. But she has a more fundamental problem. The deep sense of fruitlessness and strictness. She believes that her mother's behavior towards her and the rest of the family members was such that it destroyed her creativity and aspirations in his life, and turned her into a person who is unable to form a normal emotional life.
Ali Javidan