vgikВестник ВГИКVestnik VGIK2074-08322713-2471ВГИКvgik-1059Research ArticleМИРОВОЙ КИНОПРОЦЕСС | АНАЛИЗWORLD CINEMA | ANALYSISКультурная модификация пьесы Г. Ибсена «Кукольный дом» на иранском экранеA Cultural Modification of Ibsen's Play “A Doll's House” for Iranian ScreenГригорьеваН. Г.GrigorievaNatalya G.202007022025122(44)110121Copyright © Григорьева Н.Г., 20242024Григорьева Н.Г.Grigorieva N.G.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://www.vestnik-vgik.com/jour/article/view/1059

В статье рассматриваются подходы к экранной интерпретации в иранском кинематографе. Автор анализирует стратегии культурной адаптации пьесы Г. Ибсена «Кукольный дом» (1879), примененные иранским режиссером Дариушем Мехрджуи при создании фильма «Сара» (1993). Сопоставление оригинала с его экранной интерпретацией показывает, что режиссеру удалось актуализировать проблематику литературного произведения мировой классики в социокультурной обстановке Ирана 1990-х годов.

Dariush Mehrjui is the key figure in the first New Wave ofIranian cinema, but he is also among those few who repeatedly undertake avery untypical for Iranian cinema endeavor — adapting Western literaturefor the screen within the framework of Islamic fundamentalist aesthetics.Cultural sensitivity of official ideology makes ‘Iranization’ of the literary workcompulsory. In contrast to his fellow film directors of the 1950s and 1960s,Mehrjui adopts a more comprehensive approach to his screen adaptations, inwhich the original plot unrills in an environment familiar to the viewer, withno ‘other cultureness’ to an Iranian eye. Modifications to the plot in accordancewith culture and time specific elements allow the original idea to take on anew meaning in different sociocultural conditions. The article analyzes thefilm Sarah (1993), based on H. Ibsen’s play A Doll’s House (1879). The authoremphasizes that the feminist movements in the West and in Iran differ in time,but are in essence about claiming and securing social rights for women. Thefilm is set in fundamentalist Iran in the 1990s. Differences in time and settingsinevitably change the personalities of the main characters Nora and Sarah.Mehrjui’s Sarah is completely devoid of ‘dollness’, hence, the overall atmosphereand the interiors have been domesticated to achieve a fertile setting for theintended goal. Despite those modifications, the message of the literary sourceremained unchanged and turned out to be relevant for post-revolutionary Iran.The main role in the film was played by Niki Karimi, the brightest star of Iraniancinema of the 1990s. Her chiseled profile, facial expressions, gestures and femaleintuition helped Mehrjui create a model female character that is still popular inIranian cinema today.

иранское киноДариуш Мехрджуикультурные адаптацииэкранные адаптациииранская женщинафеминизм в ИранеIranian cinemaDariush Mehrjuicultural adaptationsscreen adaptationsIranian womanfeminism in Iran UDC 791.43-24 Natalya G. Grigorieva Ph.D (Arts)Associate Professor A Cultural Modification of Ibsen's Play “A Doll's House” for Iranian ScreenReferencesАдмони В. Генрик Ибсен. Очерк творчества. Л.: Художественная литература, 1989. 272 с.Admoni V. (1989) Genrik Insen. Ocherk tvorchestva [Henrik Johan Ibsen. Critical Reflection].Гришаева Л. Культурная адаптация текста как способ достижения комплексной эквивалентности при переводе // Проблемы культурной адаптации текста. Воронеж, 1999. 192 с.L: Khudozhestvennaya literatura, 1989. 272 p. (In Russ.).Humm Maggie. The dictionary of feminist theory, Columbus: Ohio State University Press, 1990. 278 с.Grishaeva L. (1999) Kul’turnaya adaptatsia teksta kak sposob dostizheniya kompleksnoyHutcheon L. A Theory of Adaptation. London: Routledge, 2006. 280 p.ekvivalentnosti pri perevode [Cultural Adaptation of Texts as a Method to AchieveNord C. Translating as a purposeful activity: Functionalist approaches explained. Manchester: St Jerome Publishing, 1997. 154 p.Multidimensional Equivalence in Translation. Problems of Cultural Adaptation of Texts].Walker R. Becoming the Third Wave. New York: Liberty Media for Women, 1992. January, pp. 39–41.Voronezh, 1999. 192 p. (In Russ.).Humm Maggie. (1990) The dictionary of feminist theory, Columbus: Ohio State UniversityHumm Maggie. (1990) The dictionary of feminist theory, Columbus: Ohio State UniversityPress, 1990. 278 p.Press, 1990. 278 p.Hutcheon L. (2006) A Theory of Adaptation. London: Routledge, 2006. 280 p.Hutcheon L. (2006) A Theory of Adaptation. London: Routledge, 2006. 280 p.Nord C. (1997) Translating as a purposeful activity: Functionalist approaches explained.Nord C. (1997) Translating as a purposeful activity: Functionalist approaches explained.Manchester: St Jerome Publishing, 1997. 154 p.Manchester: St Jerome Publishing, 1997. 154 p.Walker R. (1992) Becoming the Third Wave. New York: Liberty Media for Women, 1992.Walker R. (1992) Becoming the Third Wave. New York: Liberty Media for Women, 1992.January, pp. 39–41.January, pp. 39–41.

The authors declare that there are no conflicts of interest present.