Özet:

Modern Iranian theatre found the ground of development from the first half of the nineteenth century on the foundations of religious and non-religious traditional Iranian theatre. In the process of recognition of European science and technology in Iran, the Ottoman territory and Russia had significant influences. Istanbul is the door to Europe for Iran. A food shop in Istanbul was dismantled and transferred to Iran, and some newspapers and magazines that were then pressing in Iran were printed in Istanbul and sent to Tebriz and Tehran. The Turkish theatre was in the second half of this century in a great breakthrough with its adaptations, translations and authorship works. Moliere's works are being adapted, and the authoritarian works such as Shinasi's Poet's Wedding also enriched the Turkish theater's library. At that time, some of the Iranian lights found in Istanbul closely followed the Turkish theater and began their first adaptation and translation work. Misanthrope was transferred to Persian under the name Merdumgurîz and printed in Istanbul. The theatrical building, which has the record of your throne in Iran's history, was opened in Tehran by Nasruddin Shah, promoting the translation and authorship, supporting the theatrical communities and started the infrastructure work of the contemporary Iran theatre. The theatrical communities such as Ferheng (Culture), Theatre-i National (National Theatre), Comedy-i Irân, Comedy-i Musical, Club Musicals put the works of French and Russian pianists on stage. For the first time in the comedy-i Iranian community, Armenian, Turkish and Musevi female actresses played. On the other hand, Ahundzâde (Ahundof) (1813–1878) which put the foundation of the Azerbaijani theatre and was an important place in Turkish literature, made a breakthrough into the modern Iranian theatre with his poems written in Turkish and later translated into Persian. Seyyid Ali Nasr, who taught theatre history in the Huneristân-i hunerpîşegî school, showed games that fit the European stage technique and with his work he was considered the father of modern Iranian theatre. In the first paintings, which were written and screened in Persian, the problems of the Iranian woman, the bad beliefs, ignorance, the problem of reading and writing, and the failures in the marriage institution were addressed. After the First World War, the writers like Kemal Şehrzâd, Sadık Hidayet, Hasan-i Mukaddem, Gevher Murad, and Mirzâde-i Işkî, who were known as Ali Nevruz in Turkish literature, and who remained in Istanbul for a long time, turned to the historical pires that worked with the Islamic Pre-Iran due to the negative situation in the world political arena of Iran. Blind Baykuş, Diri Gömülen, Alacakaranlık, Aylak Dog, Three Drops of Blood, Hacı Aga, Vegetarian Benefits, Hayyam's Teranesi and other works in Turkey are well-recognized by the Faithful Guide to the Sassani Period, one of the bright periods of Iran's history. From 1936 to 1937, when he was in Bombay, he lived among the Persians, the firefighters. Zerdüşt completes his lack of knowledge about religion, learns the Pehlevîce, the language of that time, and translates many Pehlevîce texts into Persian. In the story of the Holy Spirit, the Holy Spirit and the Holy Spirit, the Holy Spirit and the Holy Spirit, the Holy Spirit and the Holy Spirit, the Holy Spirit and the Holy Spirit. These works are a document of national identity search. The Arabs, according to him, are a people who destroy and destroy the glory of the ancient Iran. He attacked the Arabs with a racist approach.