Pari Saberi, an influential Iranian playwright, director, novelist, translator, and actress, was born into a cultured family in 1932 in Kerman, Iran. Her early exposure to art and literature set the stage for a lifelong commitment to arts. Encouraged by her uncle, a prominent cultural figure of the time, and her mother, Saberi was sent to Paris at the age of twelve to continue her education. Her move to France coincided with the post-World War II era, a period marked by significant cultural and artistic transformation. Paris, then a hub for avant-garde movements, became the backdrop for Saberi’s blossoming passion for theatre and cinema.
In Paris, Saberi studied cinema and directed a short film about Omar Khayyam, a 12th-century Persian polymath and poet. This film not only earned her first place in a competition but also introduced her to France’s cultural circles. However, her success as a female Iranian director in a male-dominated field was met with resistance. Despite these challenges, Saberi’s determination to pursue her artistic vision remained steadfast. She continued her theatre studies under the mentorship of Tanya Balashova, a renowned French actress and teacher. For three years, Saberi immersed herself in both private and public theatre education, honing her craft before completing further studies in Spain.
Upon returning to Iran in 1963, Saberi quickly became a pivotal figure in the country’s burgeoning theatre scene. She joined the University of Tehran as a faculty member and collaborated with Hamid Samandarian, a celebrated Iranian theatre director. Together, they co-founded the Pazargad theatre group, which soon became one of the most influential theatre collectives in Iran. The group was known for its avant-garde productions, including Luigi Pirandello’s Six Characters in Search of an Author. (1964) This particular play featured Forough Farrokhzad, a renowned Iranian poetess and one of Saberi’s close friends, who was at the peak of her fame at the time.
As the university’s extracurricular program director, Saberi recognized the need for a dedicated venue for experimental performances, which led her to establish Molavi Hall. This hall, converted from an abandoned warehouse near the University of Tehran, became a cornerstone of the Iranian student theatre movement. Under Saberi’s guidance, Molavi Hall nurtured the talents of several prominent Iranian directors and actors, including Ali Rafiei, Dariush Farhang, Mehdi Hashemi, and Sousan Taslimi. These at-the-time emerging artists made their first significant contributions to Iranian theatre within this vibrant space.
Pari Saberi was a driving force behind the extracurricular activities at the University of Tehran during the 1970s. She spearheaded various initiatives in music, theater, film, and student travel, significantly enriching the cultural landscape of the university. She emigrated to the U.S. with her husband, who was a gastroenterologist, and their two children after the 1979 Iranian Revolution. In Los Angeles, Saberi continued her artistic endeavors. In 1981, she staged the play Where Am I From, Where is Love From in memory of Forough Farrokhzad. This production was particularly well-received by the Iranian diaspora, who were eager to connect with their cultural heritage through the arts. The play was later performed in English at the 1981 Olympic Games Arts Festival, further showcasing Saberi’s ability to bridge cultural divides through her work.
The Flying Shams, re-staged in 2016 at Sa’adabad Palace, Tehran, Iran. From Artebox Podcasts.
Saberi returned to Iran during the tumultuous years of the Iran-Iraq War. Despite the challenging environment, she continued to produce significant works, often drawing inspiration from classical Persian literature. Among her notable productions during this period were Seven Cities of Love, (1995) Bijan and Manijeh, (1997) and Rostam and Sohrab. (1999). Her play
The Flying Shams, (2000) based on the poetry of Rumi (13th century Sufi poet), became one of her most acclaimed works. Staged at Tehran’s Vahdat Hall, The Flying Shams was seen by over 20,000 people in Iran and many more internationally. In 2003, this production earned Saberi the Ibn Sina Award from UNESCO and the Mawlana Award from the World Mawlana Foundation, solidifying her reputation as a leading figure in Iranian theatre.
Saberi’s international acclaim continued to grow, with performances of Antigone in Italy and The Flying Shams in France. In 2004, after her successful productions in Italy and France, she was awarded the French Legion of Honor (Ordre des Arts et des Lettres) in recognition of her contributions to the arts. Known for her grand and spectacular productions, Saberi often highlighted the role of women and their voices, a theme that resonated deeply in her works. Even at the age of eighty, she continued to push boundaries, staging the musical Petrel, (2013) which featured over eighty young actors, many of whom were new to the world of theatre. This production was a testament to Saberi’s enduring commitment to nurturing the next generation of artists.
In addition to her extensive work in theatre, Saberi appeared in two notable Iranian films from the 1960s: Brick and Mirror, (1964) directed by Ebrahim Golestan, and The Night of the Hunchback,(1965) directed by Farah Ghaffari. These films were significant contributions to the artistic currents of Iranian cinema and further underscored Saberi’s versatility as an artist.
Pari Saberi passed away on September 10, 2024 at the age of ninety-two after a long battle with cancer. She remained actively involved in theater until the very end of her life. Her legacy as a trailblazing figure in Iranian theatre is marked by her innovative approach to storytelling, her dedication to cultural preservation, and her unwavering support for emerging talents. Through her work, Saberi not only theatricalized the rich tapestry of Iranian culture but also elevated the voices of women in the performing arts, leaving an indelible mark on the world of theatre.
This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.
