A Study on the Development of the New Theater Field in Iran and the Growth and Activity of Lalehzar Theaters (Focusing on the Iranian Theater between 1300 and the coup d’etat of 1332 Solar Year Based on the Views of Pierre Bourdieu)

The dialectic between the position of power field and its impact on Iranian theater field over 1300-1332 Solar year (1921-1953) caused fundamental changes in the production and consumption process of Iranian theater through making changes in the actors’ talents and using this talent in production and consumption of various fields of play, influencing production groups, hall owners, and audience. This study employs Bourdieu’s formative structuralism to investigate how actors’ position and interaction based on the social origin of each concerning the theater field and actors’ position against the corresponding positions and combination of their cultural, economic, and symbolic capitals descriptively and analytically. Ultimately, we find that in this period, the method of mastering the habits and field capital by the actors played the fundamental role in the formation of theatrical fields besides imposing its thought system on the theater field, and leading to identity differentiation in the field theatrical performances.