It was time for the young Rambad to come to the home theater network with a new app. He previously produced and directed the series “Ordinary People”, which aired on Filimo in 1400 in the last year of the “Laughter” program for the Nasim Network. But the series failed to satisfy its audience despite the actors such as the late Attila Pesiani, Lily Rashidi and Shabnam Moghaddam; Even the young man’s presence as one of the actors in the series did not attract the audience. Therefore, the young decided to get away from the program and directing for a while, and three years after the production of “Laughter”, which aired on Nasim from 1398 to 1401, come to your home theater with a hybrid Real Madrid, Carnival, this time. Read the Carnival Criticism in this post.
The creators of the Carnival program have described the coe of the program; A stand -up comedy focus and hybrid show forms that include music, performer or theater and stand -up. The young Rambad also hosts the host and host of the program. The process of the program is that the twelve participas often compete in four groups of three groups, from acting and music to the cyberspace. Of course, two people have competed from each group, and it is unclear what role the third person is going to play. Another strange thing about the competition is that these participas are not necessarily the performance in their own programs. Uil the two groups were broadcast for competition, except for Roozbeh Hesari, none of the participas were prese in their performances.
From the first group, Amir Mehdi Jouleh prepared a composite performance, such as a musical (with his own role in the narrator or an explanation) and Ali Oji, a film music. From the second group, Roozbeh Hesari and Amir Hossein Rostami both organized a composite performance, for example, the music, the former performed with his fence and several other players, the second being a puppet, and without Rostami’s presence or even the voice of Rostami. It is clear that this combination of the program confuses the program’s audience. Especially as the creators say, the competition will be held with the votes of the program. The question that arises is: What exactly and who votes in the hall? When there is one competitor in one group and has no other, or when one is merely a musical and the other is a combination of play and music, can one in the scales at all have to be measured?
Critique of the “carnival” program; Carnival or Ash Shalm.
The ideas of the program have given themselves the freedom by choosing the title “Carnival” to put differe species of the show in the competitive section. Their patterns are iernationally taleed programs that do not necessarily focus on a dramatic format, and the prese and unauthorized audience of the program votes with a refereeing group. But in those programs, participas compete individually; Every participa, whether individual or group, is judged and selected compared to the whole participas. Not the idea that it is idealized in the Carnival program. Here is an analogy. Of course, the ideas may believe that they have innovated. One part of the discussion and debate between the audience and the competitors has added to the program to incorporate critical thinking and criticism capacity. This can be taken to the nick; Especially in a culture where neither critical thinking is common nor high hearing criticism capacity.
But since the author has the author, it is not clear that the programs of the participas are all in their own right, secondly on what basis the audience has been selected. The behind -the -scenes program “Carnival” does not answer these questions. Therefore, while encouraging the ideas and creators of the program for these innovations, the whole program, especially its targeted training, which should not be a dramatic aspect and a demonstration of the work, makes it unrealistic and difficult to communicate. Although some of the views of the audience are compete and admirable, even if it is pre -written. Stay tuned at home to understand the coe of the program. Because this is not the whole story; The numerous advertising items added to the program’s sponsors, music performances, magic, competitive games, behind -the -scenes conversations with ages and participas, stus, and a puppet -teddy bear that is only related to the young Rambad. Question; What is the other one you made, Mr. Young?
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Yes;; Your ieion has been to put all that you have provided in “Laughter” here in the coext, for example, more open and free, and free platforms; But the result, unlike the “Laughter” program, which, with all its criticism and outfit to the young Rambad, had the necessary coherence in the combination of his various items, was scattered by Carnival and does not have the “laughing” charm. It does not justify this as “carnival” as a “carnival”. Even though the carnival is a street and its audience is not selective and its participas are so selective. Except for a few people, the rest of the participas are those who have been following the program for several years following the boom in the home theater network and the adve of platforms.
Perhaps the reason for this duplicate eleme is that the number of people who are willing to participate in such programs has decreased, or you preferred to build your loudspeaker and electricity program with the same secure options that, despite a huge budget, have no part of the “laugh” charm. Perhaps the repetition and reconstruction of the successful compones of that program has later failed here. From the doll’s item that does not reach the foot of Mr. Khan to the show items with Nima Sha’bannejad, stand -ups and games, and even talks were far better and more spectacular than Carnival. The only poi of sharing these two programs is the crowded performance of the young Rambad, which has tried to behave more corolled here, but its exciteme and happiness in the opening part of the opening maybe even more annoying.
What exactly did you succeed, Mr. Young?
Why did you succeed Mr. Young? What “could” make the truth? Except for a little more open space for your home theater and supporters, but your plan is not spectacular? Of the twelve participas, only one is a lady, did you not allow women to invite women in the competition or did you not wa to cooperate with you? In the opening section, you invited iernational musicians to perform joily with an Iranian musician. Your hand does not hurt; But does it have any other artists except Mohsen Sharifian, who is one of the same bus artists? Why didn’t you go to native artists other ethnicities? Because southern music is on the stock exchange? Why is it still closed to musicians in the gate of musicians despite inviting musicians to perform (including critical rap!) In differe parts of the program?
What exactly is the success that you have shouted in the zero part of a handful of people in the face of poverty, unemployme and war? ((Those minutes of silence with a seemingly sad face to sympathize with the people who have lost their loved ones and saddened to their numerous sadness, with the slogan “Life coinues, so laughing should not be forgotten,” The struggle for keeping the hopes alive) is that you were able to host a costly project once again and to laugh at the victory?
Except that you have made an app, such as an innovative composite realization, and the items and games and all your app compones have nothing more than the humorous and abnormal coe of the home theater and comedic comedy? How long do you wa to abuse artists from home while not allowed to return home, their voices, their music to stimulate the sense of nostalgia and dilute the people’s emotions in the worst possible way? Isn’t it enough for all the implications of the low -quality sound and recitation we see in social networks and cinema these days? You would at least invite a better reader to your app. Or you were a little creative to incorporate popular and memorable songs io the show items. It does not necessarily have a musical play to glue the song to the show item with the coe of the play piece (if it can be named). They say “patch”.
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Aren’t your famous iernational programs? Why are you even so weak in imitation? Why is your goal and your tool to attract the audience of stimulating their emotions? This stimulation of emotions with a few ceimeter dialogues, for example, critically, if not in a dramatic format, is the best name to be given. What let alone wa to be criticized and judged by your selective audience; The audience who, of course, meioned the good things about their criticism. It was like I wish you were going to Iranian cinema instead of playing the music pieces of the promine iernational films. Is Iranian cinema a great sound that is familiar with the Iranian audience? What perceage of audiences in the hall and at home have seen these movies at all to communicate with their soundtracks? If your goal is to upgrade the musical taste and nurture the audience of the program, why not use the soundtrack of Iranian films? What is this alienation of alienation that you are looking for?
How long do you wa to bypass the copyright law?
Aren’t you visiting the patriotic slogan or refuse to make the huge budget of the program to buy and perform the music of Iranian artists? Does it mean that it costs more than the decor and construction of that huge location outside Tehran, which is really unnecessary and does not add anything to the charm and eertainme of your program? Why don’t you spend the same budget on the right to play the valuable Iranian songs that are Persian, for the soundtrack? Why don’t you relax a little bit? Why should your choice of soundtracks and competitive items be in English, belonging to non -Iranian artists, and at the best of the Iranian artists across the blue that your program audience can easily call “foreign”?
How long do you wa to exploit the copyright law that has no meaning in our coury because of being isolated in our coury? Don’t you say respect for your audience and their tastes? So when do you wa to spend this slogan? What is the coradiction that in a system and culture that disrespects alienation and even sin and accuses people of “westernization”, you put on a famous song by Michael Jackson Persian, with that quality and bad performance? Is it an ai -culture? Why didn’t you invite a live band to the program to bring the audience to the audience with live performances instead? So where is this respect for your audience’s taste and taste?
It is time to do real innovation instead of repeating the ideas and even offensive ideas that even better versions can be found on social networks, if you have a differe claim and a new word to say. Set aside the sound and re -read the songs of Iranian artists away from home. Try to attend your program, especially in the music field. Do not persuade people to be small in the name of small names and iimacy behind the scenes and the use of delicate words close to the profanity (even in foreign programs that are your programming pattern, the sound of these words is the sound of beeps. The name of this ieractive literature is not iimate and close to the language of the alley and the market). Simply, if you watch at all, it will not communicate and not satisfied. It’s not easy to watch.
This applies to the part of society that the daily feed is the most powerful and high quality music and iernational coe. The part that is the audience of the iernal coe does not come out of your program. Choose your target audience correctly. Treat the smarter. If you are going to bring a funny child to your schedule or adulthood with several abilities, make sure that both are either really genius or at least really capable in their tales. Your show items do not have a story and familiar music does not help them. Heavy decor is not a good thing to expect. Your carnival with this quality is not only respectful of the audience, direct insult to the audience and abuse of the package and isolation is where it lives.
May the next chapter, which will coinue with your budget and financial support and powerful lobbies, treat another and more innovative approach. At the same time, do not plan your plan to increase this budget. Implemeing two competitive items in one section and assigning the other to dialogue and debate makes your program boring. It makes the audience see your program on a fast -paced. You can simply reduce the additional parts of the program like puppetry, stuing, and so on and focus on the race section, though you are Shalb. Or, at least, think of all these compones together. You may still be the first way and you will be welcomed as a slogan of your program, and you will coinue to improve the quality of your program.
Carnival Program ID
Play: 1404, Movie
Director: Young Rambad
Authors’ Supervisor: Mehrab Ghasemkhani
Participas of Season One: Ali Oji, Amir Mehdi Jouleh, Roya Mir -Alami, Amir Hossein Rostami, Roozbeh Hesari, Vahid Aghapour, Mohsen Sharifian, Saman Eteshami, Soheil Moshabian, Bamdad Afshar, Daniel Kazemi, Sina Saei
Summary: Carnival is a realism or realistic program with a stand -up comedy and display combined forms including stand -up, music performances and performers.
The critique of the “carnival” program is the author’s personal view and is not necessarily the position of DigiKala Mag.
Source: DigiKala Meg
