The Concept of Latent Dramaturgy in Contemporary Iranian Cinema

Abstract

Referring to the nature of the hidden in art one may rephrase the
German philosopher Jean Paul: art brings out the hidden, or the obvious absence
of it.
The hidden as a concept in film dramaturgy can manifest itself at all levels
of the story’s content. This article represents the mechanism of the hidden by
the so called ‘‘latent’’ dramaturgy which is relevant to a serene, dormant style in
pictorial art. So, many canvases created in the 17th-century during the Golden
Age of Dutch painting, were termed ‘‘stilleven’’ insofar as they presented a kind
of frozen, silent life of things. Terming this style as ‘‘latent’’ is most suitable for
many films whose authors are not so much concerned with the dramatic twists
and turns of the plot as with the impact of external conflicts on the inner world
of the characters and their ways of dealing with life challenges.
The style of latent dramaturgy is most obvious in contemporary Iranian films
characterized by a matter-of fact tonality and deliberately muted emotions. The
imagery and the entire meaning of the film are revealed in understatement.
The concept of the hidden in Iranian films exemplified by latent dramaturgy
is determined by the realities of Iranian society, by its bans, its censorship, Islamic
ideology and many taboo subjects which lays the groundwork for resorting to
undertones and parables. Additionally Iranian filmmakers draw inspiration
from the rich heritage of the ancient Persian culture.
Using the mechanism of the hidden, latent Iranian dramaturgy touches upon
crucial aspects and mysteries of human existence. Without emotional expression
and profound effects, just by dramaturgic means, Iranian films manage to arouse
empathy.