With every trick you have to influence the theater audience!

According to the Mehr correspondent, the play “Karshnado”, written by Pouya Saeedi and directed by Farshid Sarvani, has been staged at Homa Mansion No. 5 at 9:50 pm.

“Pouya Saeedi is my favorite writer, and his career is so brilliant that I think many are keen to work with him,” explained the process of producing this play. We have learned theater together since school, and we have had a lot of collaboration from student theaters to college and now in the body of professional theater. This path has definitely influenced our mental world and we have come to the shared points that are fascinating to me. The author's presence alongside the work has a special impact on the production process and is a great opportunity for the executive group. How good it is for this writer, a group, an old class and our comrade. The pre -production process of the text began in September and we gradually reached the selection of actors and training. We were practicing every day and this process was very informative for me as a director. There was almost no day when we had no practice except for a few interruptions to choose the hall and so on.

“Kershsto, a musical term means height,” he said of the name of the play. I think the reason for this name is the structure of the play, which is designed as a crackdown, and as we approach the end, the story gets more peak.

“The main nature of the theater requires to use every trick in the form of live performance so that the audience be surprised and impressed,” he said. Some of these wonders can be from the play or an executive idea. I am trying to use each as a surprise, as long as the space of the play allows me. In general, I don't like my audience to go in the trance and only follow my show. The finishing of the job is the culmination of the “Creshhendo”. I'm glad if the audience really enjoyed it, because our main goal is to make a situation and to build a situation that they may have experienced before.

“The design of the scene and dress is the first element to face,” said Karshshndo's costume design. I am glad that I had a very good scene designer who created a scene in the service of work and story, while also observing aesthetic details. This design was a useful and valuable experience for me. The design of the “Kreshndo” dress for my work was a turning point. Collaborating with Shima Mir Mirmaidi, in addition to ensuring the output of the work and its later peace, was the result of the overall experience and learning of theater from a top -notch designer. I am honored to cooperate and certainly do not need to define the output.

“The choice of actors is an important part of the work,” he said. He has worked with some children, such as Hamed Mahmoudi, since the conservatory, and Mohammad Islami has had good experience in theater. These communications have helped us to live and work together.

The director of Karshshndo also said about the music of the work: I was introduced to Dynamic Norouzi from the Launcher 2 play. He has a fascinating fantasy atmosphere that is close to my work and has made us some very interesting pieces in Kershsto.

At the end of his remarks, he noted: Theater means process and path. The success of theater is achieved in this process. From the first night of practice we have to turn the words into souls. This itself needs empathy and creativity. I hope our work has a positive impact on the audience and encourages them to come back to watch our play and support this theater.

Reza Supervisor is produced by Reza.

The cast of this play (in order of arrival) is Hamed Mahmoudi, Mahan Abdi, Mohammad Islami, Mohammad Hydari, Ali Arakhi, Abtinizi, Primahashiri and Reza Supervisor.

The story of the play reads: “In the bathroom of a student dormitory, a stranger comes in, the police come, the helicopter arrives and the dog is however.”

The photo is by Amir Hossein Mirzaei.