Misagh Nemat Gorgani

Dal play is written and directed by Moslem Khorasani. The play is trying to undermine through the daily routine loneliness of a family to different layers of social communities. The family is going to make this social crisis inside the family. It seems that the set design is also trying to present the border between outside and inside, public and private. The process which the performance is not successful about it because of many reasons. From the beginning we are facing with the missing family. The lack of family, an ancient community that is vanishing. In a tense atmosphere, we see an aggressive father, a mother who is not able to separate religion from superstition. And a son full of asleep. While the absent daughter is the reason for revelation and communication among family, society, reality,…we see a play which is showing a parallel between incomplete reality and unfinished play. Going beyond dramatic text, stage and accessories which are all incomplete, for example, telephone, skipping for short time in playing is going to show this incompleteness. It paves the way for audience to seek and complete truth. But the performance is limited. Problematic Communities and social paralyzed norms are not working. Religion, universities, and all important subjects are meaningless. There is nothing for searching and interpretation. In fact the disappearance of meaning which is presented in the disappearance of body. It not only brings different points in interpretation and stability but also represents a range of cliché. Dal is a play about not presenting, not saying, and not to see. Even though family itself presents battle… all the complicated events is about losing and finding the daughter and its not about narrating. while tense rhythm is stable from beginning to the end. Characterization keeps distance with complicated and dimensional plot.

We need plays which have reaction about social reality. And be aware of  the narrow border between being conservative, and humble.