As a prominent figure in the contemporary Iranian theatre scene, Chista Yasrebi uses her plays to call for female liberation in the country while navigating the existing political constraints, including censorship. Her 1996 play Rahil, for example, acts as a political allegory through its narrative of the titular woman’s desire for transcendence within the patriarchal realm of Persian mysticism. In its close analysis of the play, this article identifies the historical significance of mystic women in Iran and examines Yasrebi’s use of mysticism to comment on the complexities of gender politics, the oppression faced by Iranian women, and the need for social resistance. Further, it draws on key concepts from Alain Badiou’s political philosophy to demonstrate how Rahil’s journey into mysticism can be seen as an act of transgression. It argues that Yasrebi’s work enriches the ongoing discourse on the role of women in Iranian society and the broader struggle for political transformation.

中文翻译：

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神秘主义是 Chista Yasrebi 的 Rahil 中的越界


作为当代伊朗戏剧界的杰出人物，Chista Yasrebi 利用她的戏剧呼吁该国的女性解放，同时克服包括审查制度在内的现有政治限制。例如，她 1996 年的戏剧 Rahil 通过叙述名义上的女性在波斯神秘主义的父权领域中对超越的渴望，起到了政治寓言的作用。在对该剧的仔细分析中，本文确定了伊朗神秘主义女性的历史意义，并研究了 Yasrebi 使用神秘主义来评论性别政治的复杂性、伊朗女性面临的压迫以及社会抵抗的必要性。此外，它借鉴了阿兰·巴迪欧 （Alain Badiou） 政治哲学中的关键概念，以证明拉希尔的神秘主义之旅如何被视为一种越界行为。它认为，Yasrebi 的工作丰富了关于女性在伊朗社会中的作用和更广泛的政治变革斗争的持续讨论。