Director's Note
The early version of `Hasan and the Goblin of the Narrow Path Behind the Mountain' was written in 2001, and it was dedicated to the puppets of `the Dusk of the Strange Land', to the panther of `the Moon and the Panther', and to D. Noushin to whom I read every bit of the play from a faraway distance at nights.
After two months' rehearsal, the play was staged twice in 2007 at the Shahr Theater halls in collaboration with those whose names are mentioned in the brochure.
The play was not in rhyme at first, and the dialogues had a colloquial flavor, but the atmosphere of the play called for something else in respect of the language. Thus, taking into account Bijan Mofid's two accomplished works )the Tale Town, and the Moon and the Panther(, the language of the play was rewritten in rhyme. Although the language recalls Mofid's style, it has a taste of its own. That's why the play is dedicated to the Panther of `the Moon and the Panther'. In addition to Bijan Mofid's works, the language of the play owes a debt to some other works of art: the three poems `the Fairies', `the Tale of Naneh-Darya's Daughters', and `a Moonlit Night' by Ahmad Shamlou; some Iranian folk songs for children; the impact of a masterpiece by Ali Hatami named `the Bald Hasan' )and undoubtedly some of his other works(; and finally, the name of the most influential artist in my life, Bahram Beyzaei, whose demon in `the Dusk of the Strange Land' is not a demon indeed! The first dedication of the play is to appreciate the true values of Beyzaei's play.
The colloquial-poetic language of the play called for a kind of unique form of performance, certainly influenced by the attributes of the Iranian theater. The movements, the simplicity of the form as well as the theatrical aspect of Ta'ziye, and its resemblance to the journey of Hasan in the play brought about the form of Ta'ziye and its vocals, which was along the same lines with the poetic aspect of the script.
Consequently, we did go over the classical Iranian music, and fortunately we found the Tasnif's and ژvہz's suitable for certain moments of the play. The vocal part is mostly based on the Radif of Davہmi, and the instrumental part, on the other hand, is basically based on the Radif of Mirzہ Abdollہh. Also, there are a number of pieces we composed ourselves.
Besides, we made use of all the techniques, forms and potential used in Ta'ziye. Concerning the vocal forms, the ghouls which represent the bad, do not sing the Avہz's but the rhythm; and on the other side, Hasan, the goblin, the farmer, and the fisherman that all represent the good, sing the Avہz's and the songs. Furthermore, in respect of the colors of the costumes, the bad wear red and brown, and quite on the contrary, the good wear green, blue and white.
The veiling of the ghoul, and the attempt made by the king to remain unknown brought about the idea of the mask; and the ghouls serving as playthings gave us the idea of the puppets of Kheyme and Kheyme-shab-bہzi. But we could not have Kheyme, as we did not have Ta'ziye. Thus here comes the sound of the whistle which not only recalls Kheyme, but also creates a dramatic effect: a constant endeavor to conceal the real sound of voices.
All of these could not be achieved unless the actors shouldered the responsibilities and did a great job of the roles. Actually, they loved what they did. That was why they all sang, played and acted every moment of the play through the days and nights of rehearsals in an extremely difficult situation.