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Killing the odist
19th to 21st January 2022
I got there from the exit of the Qanat that Azade Shahmiri built for the garden. A garden where the Sun Sets Eight Times A Day and probably rises up eight times as well.
Failure to dredge is one of the thousand reasons a Kariz dries up. In my story and project, sometimes the plumbers who hate the Kariz bring the crisis to a point where you can only clean and remove the sludge from the Qanat with blood, the blood of the Odist.
The Odist finds the lost entrance to the Kariz in one of the corridor's corners designed by the "architect." He has taken refuge in a lost corner of a corridor. The audience/player/ spectators must find the Odist by the secrets they receive. Then they should decide what to do with the Odist.
In the age of communication, the sun can pass through the sky of a garden eight times a day. In that case, if we are so interconnected that the speed of the diffusion of respiration-produced particles can be measured by following the growth rates of COVID-19 in the world and that way we can understand how long it takes for the respiratory suffering of China to sink into the chest of all the inhabitants of the earth, why do you think terror, collapse, and slavery can be quarantined in Afghanistan? Now that everything is connected, why is there no sound?
The Kariz was a way for me to hear the echoes of my footsteps. I decided to chase them. Here we pay the sound of our footsteps as the ransom for the release of the echoes of anonymous and recognizable voices. Let the sound of life steps and wrath be as contagious as the sound of the shoes of death and tolerance. Perhaps the Kariz, the throat from which the water song arises, must rest in blood from screaming.
By Isar Aboumahboub & Rita(Fatimah) Ahmadi
Rita(Fatimah) Ahmadi Abadeh has a background in physics. After graduating from Sharif University of Technology(Tehran, Iran), she joined the Quantum Group based at the Department of Computer Science, University of Oxford for doing her PhD. She is broadly interested in the cross-section of dramatic arts and science/technology.
with sepicial Thanks to: Amin Jalili, Roya Attarzadeh
