Blue or Red

I had a fresh and challenging experience with four street theater performances in the rural area of Farrokhshahr, followed by the Provincial Theater Festival in Shahr-e Kord, on November 8, 2024, The performance, inspired by the struggles of oppressed people, tackled the sensitive topic of “Abortion”, engaging the audience in ethical and social choices. The play, titled "Blue or Red" , aimed to involve viewers in decision-making actively. My aim with this topic was to spark questions in the minds of the audience about recognizing women’s right to autonomy over their own bodies.

At the start, each audience member was given two cards: a blue card for a "yes" vote and a red card for "no," with the color scheme humorously referencing Iran’s favorite football teams.

For this performance, we used a symbolic box that represented the souls of unborn children, leaving their fates to the audience’s choice. This box was a metaphor for an uncertain future, suggesting that these children could grow up to be doctors, engineers, lawyers, artists—or perhaps thieves, killers, or criminals. This contrast vividly depicts the real-life dilemma of deciding between life and death, provoking deep reflection among the audience.

The play featured three distinct narratives, each telling a unique story:

·???????? The first narrative follows a couple in an extramarital relationship. The issue of honor and reputation arises now that the woman is pregnant. This topic is itself a taboo in Iran and in the context of religion. The audience must decide whether the child should be born, with each participant giving reasons for their vote. These reasons became the primary challenge, allowing the audience to examine their own decisions closely.

·???????? The second narrative centered on Hajji Firuz and his financial struggles. He is torn over whether, given his economic hardship, it is wise for his child, Mubarak, to be born. This dilemma echoed the concerns of the working class.

·???????? The third narrative depicted a character for whom the birth of a child might hinder career advancement. He is conflicted between pursuing his career goals or planning for a larger family. This decision embodied the tension between individual ambitions and social responsibilities.

The roles and stories were portrayed by a single actor using different colored scarves for each character. For example, the narrator wore a gray scarf to signify neutrality, signaling that the audience's votes would determine the story’s outcomes. The blue scarf symbolizes the general public, participating in decisions with varied perspectives. The red scarf, representing Hajji Firuz, highlighted economic challenges and personal dilemmas, while the white scarf was reserved for the Mentor, who played a guiding role within the community.

For me, this experience was both an experiment and a unique opportunity. Although I was the writer and director, I deliberately removed myself from the performance, presenting it under a pseudonym, in my mother’s name ”Tahereh Tavakkoli Dehkordi” This allowed me to observe better the audience’s reactions, votes, and reasoning invisibly. Shahr-e Kord, with its mountain cold, serious, and reserved residents, brought a distinct atmosphere to the performance. Observing their responses anonymously added depth to my experience in performative art, illustrating how theater can become a platform for reflecting social values and decisions.

This performance would not have been possible without the talent and creativity of Erfan Emadi, the young skilled actor. His understanding of the nuances of street performance allowed him to bring the complexity of each character to life, making the play deeply resonant and engaging for the audience. His artistry and innovation breathed new life into the performance, leaving a lasting impression on viewers.