• Migrations [20 minutes Video]

a collaboration with Emily Neufeld

at WNDW Gallery

Vancouver, Canada, Oct 2017

Migrations brings together two new works by artists Emily Neufeld and Pegah Tabassinejad. Reaching across the globe, from Tehran to Vancouver, Neufeld and Tabassinejad’s collaboration for Migrations, grants the viewer access in a number of interesting ways: access to space, relationships, hidden histories and impressions of distance.

In both their respective practices Neufeld and Tabassinejad share an interest in presence and a blurring of the lines between public and private space. Working through these concerns in drastically different locales, and different media, Migrations reveals both the interior histories of movement and transition embedded in the site of the neighbourhood and the structure of the house, and nods towards the culturally distinct perceptions of purpose and function regarding interior and domestic spaces.

check out WNDW gallery website for more info



Screen Shot 2018-02-03 at 3.04.21 AM.pngScreen Shot 2017-10-28 at 12.39.25 AM.png



  • The Closed Circuit

نمايش مدارِ بسته

كاري از پگاه طبسی نژاد
مدیر تولید: حسن جودكي

مسعود جعفري، حديث جمشيدي، ميلاد چنگي، آرمان حسيني، بهاره رادمند، باسط رضايي، عليرضا رسولي، آيدا رشدي، ايلناز شعباني

مشاور كارگردان و طراح نور: علي تبريزي
طراح صدا و موسيقي: صبا عليزاده

مشاور موسیقایی: روزبه اسفندارمز
طراح گرافيك: فرهاد فزوني
دستیار کارگردان: طاها سرایی

منشی صحنه: آوید ذوالمجد

عكاس: شاهين صفاري
روابط عمومي و مشاور رسانه اي: سارا فرجي

حامي پروژه: گلديران
(بخش فروش تجاري- b2b)

ساعت ۱۸:۳۰

تئاتر مستقل تهران




  • [Walking in Tehran – around Neufle Le Chateaux] | Hosting by New Media Society & Aran Projects

Are you a city walker? Are you a city walker in Tehran? Which areas you’re walking mostly?  Have you ever walked around Neufle Le Chateaux? This is the area that I chose for us to walk.

This workshop is the first one from series of workshops I’m hosting towards creating an interdisciplinary project about Tehran.

This three days workshop is a platform for artists from various disciplines to attend. This workshop is not an educational one, but it’s an opportunity to meet and collaborate with artists from different mediums, to think and create together with focusing on city walk in Tehran. We might end up creating stuff at the last day, or we might just talk, write, shoot, think and certainly walk.

کارگاه پرسه زنی در شهر

جامعه ی نیومدیا و پروژه های آران برگزار می کنند
تهران، حوالی نوفل لوشاتو
کارگاهی از پگاه طبسی‌نژاد

این کارگاه سه روزه، تلاشی است برای خلق اثر هنری با نگاهی بینارشته ای، با فرآیندی کنترل شده و سیستماتیک، که هنرمندان زمینه ها و مدیوم‌های گوناگون را گرد هم می‌آورد تا در سه روز گوناگون با همدیگر همسفر شوند. همسفر پرسه زنی در محله ای از شهر، که این بار، نوفل لوشاتوست.
روز اول کارگاه، در خيابان‌ها و كوچه پس كوچه‌هاى محله نوفل لوشاتو، به درک و مشاهده اختصاص می یابد. روز دوم، روز نگاه دوباره و مسیردهی است. بيشتر مدت زمان این روز را در محل گالری «پروژه‌های آران» در خيابان نوفل لوشاتو خواهیم بود و متریال روز اول را موضوع کار قرار می دهیم.
سومين روز هم در محل گالری «پروژه‌هاى آران» برگزار خواهد شد. اين مرحله جايى است كه خواهيم دريافت اين كارگاه پايان مى‌گيرد يا زمانى براى آفرينش خواهد بود.
کارگاه “پرسه زنی در شهر” اولین مجموعه از مجموعه ورک شاپ هایی است به هدایت پگاه طبسی نژاد و با محوریت ایجاد پروژه‌های بینا رشته ای برگزار می‌شود . این کارگاه، فاقد حالتی آموزشی / کلاسی است، بلکه مجالی است برای دیدار، گفتگو و همکاری هنرمندان از رشته ها و رسانه های متفاوت هنر.
اولین دوره‌ی کارگاه “پرسه زنی در شهر” با همکاری جامعه‌ی نیومدیا و گالری آران در روزهای پایانی نمایشگاه تهران حقیقی و مجازی برگزار می‌شود.


  • M o n i t o r i n g [T e h r a n]

Monitoring [Tehran] is a multi channel interactive video installation of a durational performance for Skype. Some Tehran dwellers are online at their home, whether performing or simply doing their everyday life activities. This live installation is an attempt between the public and the private place within what we might call aesthetic surveillance. The presence of these Tehran dwellers is mediated through the lens of the laptops’ cameras at the gaze of their viewers.

Monitoring [A Doll’s House]
Concept and Installation by Pegah Tabassinejad
Tehran Annual Digital for the Arts Festival I TADAEX04 I
Mohsen Galley. Tehran. Iran
Monitoring [Tehran] InstallationMonitoring [Tehran] InstallationMonitoring [Tehran] InstallationMonitoring [Tehran] InstallationMonitoring [Tehran] InstallationMonitoring [Tehran] InstallationMonitoring [Tehran] Installation
  • M o n i t o r i n g  [A  D o l l’s  H o u s e]

The difference between the life one leads outside, in public, and the life she leads inside, within interiors (i.e., those places where she can hide herself from the outside world and feel safe) has always been very striking to me. What was unsettling, however, was this nagging idea I had that a person’s identity could still be shaped within her private realm by certain external forces, by (let us call them) windows through which she observes the outside and through which she is also being observed (windows such as internet [skype, various social networks, etc.] and television).If we see anything, it is mediated through these windows. What do we make then of a person’s identity? Are we all just cogs in some great machine, carefully observed and controlled from a distance, merely a small part in a homogeneous mass? Is anyone unique?

How a person constructs her identity is a question we are exploring via another question, which is how does an actor create her character. Do actors’ choices belong to them, or do they belong to their family, or perhaps other actors they have watched? To explore some of these questions I decided to adapt Ibsen’s ‘A Doll’s House’, a play that happens entirely within interiors. This show is a window into ‘A Doll’s House.’
‘Monitoring [A Doll’s House]’ sits somewhere between theatre and visual art. The piece will run as a combination of three scheduled theatrical performances taking place between 8PM and 10PM on Oct. 19-21 and a live installation that happens in between the theatrical performances. The whole project is an ongoing durational piece, so that the audience can stop by at any time between 8PM on Oct. 19th and 10PM on Oct. 21st.
Monitoring [A Doll’s House]
Based on Henrik Ibsen’s A Doll’s House
Concept and Direction: Pegah Tabassinejad
Project Counselor: Bojan Bodružić
Stage Manager: Cherry Song
Technical Director: Jonathan Kim
Performers: Angela Ferreira, Aryo Khakpour, Victoria Lyons, Daniel O’Shea, Gina Readman, Natalie Schneck, Benjamin Stone
Dramaturgue: Steve Neufeld
Assistant Director: Nazli Akhtari
Set: Emily Neufeld
Sound: Nancy Tam
Multi-Media: Sammy Chien
Video: Nima Soofi, Bahar Nourizadeh and Bojan Bodružić
Lighting: Jonathan Kim
Costume: Pardis Tabassinejad
Performances @ 8pm @ SFU Woodwards- Second Floor- Studio T

Accompanying a 50 hour live installation between the first and last performance


  • a  d o l l’s  r o o m 

4 hours live durational performance with the form of

Based on Henrik Ibsen’s A Doll’s House
Concept and Direction: Pegah Tabassinejad
Dramaturgue: Nazli Akhtari
Stage Manager: Cherry Song
Technical Director: Terence Grigoruk
Lighting Advisor: Jonathan Kim
Performers: Golnaz Boroumandi
                    Mehdi Sadr
                    Natalie Schneck
                    David Secunda
                    Vic Ustare

Voice: Sarah Amini

Music: Remy Siu

 & Media: Sammy Chien
A Doll’s Room is a four-hour durational piece that does and does not happen on the stage. It explores the gap between the virtual and the real, and investigates the absence within the two worlds.
The piece tries to practice absence: absence of actors, composers, designers and production elements such as light or sound. It uses very minimal technical support. This performance is an attempt to study the differences and similarities between theatre performances and reality shows. It explores the space between the performers as well as the space between the audience and the performance.
As the title suggests the spoken text mostly comes from Henrik Ibsen’’s A Doll’s House. Ibsen’s play provided me literary with sentences. I treated his sentences as just sentences, and our dramaturge wrote and rewrote them considering no original logic or intention. The characters are equally important, but they accidentally remained reflective of Ibsen’s characters.
This Performance is open to public to get in sometimes between 6pm-10pm and leave whenever they want.
  • C H A R  I S M A

50 min

The universal theme of longing and waiting are demonstrated in this poignant piece danced by two women, showing two sides of the psyche of a single character. Intense and expressive movement combined with video projections give a unique interpretation to the sentiments of anger, frustration, hope and hopelessness, placing them in an original light and a broader context.
•Premiered at the Molavi Hall in Tehran, Iran, December 2007

•Touring in Netherlands (Amsterdam- Rotterdam- The Haugh and Groningen) as part of Dancing on the Edge Festival, December 2009

•Selected performance for the Push-OFF, as part of Push Festival in Vancouver, Canada, February 2012

” … the two women in the modern dance Charisma delivered a strong performance…these Iranian women gave us a strong physically oriented modern dance where every movement created a clear line full of energy.” – Mirijam van deer Linden, AMSTERDAM

“…they are tense and suspenseful, their urgency palpable…Personal statements dealing with social problems.” – Francine van der Wiel,

“The dance movements are wonderfully eclectic… It tilts the intention to a universal plan: the pain of desire…a very pleasant one: uncompromising and honest.” – Sander Hiskemuller, Trouw.

Concept and Direction: Pegah Tabassinejad

Performers: Naz Shademan &  Atefeh Tehrani / Pegah Tabassinejad

Set, Costume and Light: Attila Pessyani

Dramaturgue: Nasim Ahmadpour

Music: Makan Ashkevari

Video: Ali Tabrizi and Hosein Zoghi

Assistant Director: Mehdi Bouslik

”کاریزما” رقص معاصری است بر اساس داستان کوتاه امریکای لاتینی ”وقتی زنان مردان را دوست می دارند” نوشته ی روساریو فره. دو زن، خانم و معشوقه، پس از مرگ شوهر، به وجود هم پی می برند. این دو قرار است در داخلی خانه همدیگر را ملاقات کنند، خانه ای که برای هر دو به ارث گذاشته شده. انتظار، تم اصلی این اثر است. انتظاری که یکی برای دیدار زن دیگر و کشف او می کشد. زمان می گذرد و همینگونه که در داستان، هر یک از زاویه ی دید خود دیگری را توصیف می کند، پی می بریم که این دو، یک زن واحدند. خانم و معشوقه، دو بخش وجودی یکدیگرند.

این اثر برای اولین بار در تالار مولوی تهران در سال ۱۳۸۶ بیست و شش اجرا بر روی صحنه داشت. سپس در سال ۱۳۸۸ در شهرهای آمستردام، روتردام، گرونینگن و لاهه در جشنواره ی رقص روی لبه کشور هلند و در سال ۱۳۹۱ در شهر ونکوور کانادا در بخش پوش-آف جشنواره ی پوش اجرا شد. این نمایش بیش از ده نقد و مصاحبه در مجله ی هفت (شماره ۴۴)، سایت ایران تاتر و روزنامه های اعتماد، جام جم، شهروند امروز، دنیای اقتصاد و روزنامه ها و سایت های هلندی دارد.

اجرای نمایشی این اثر، بر مبنای حرکت دو بازیگر بر روی صحنه و ویدئوی ضبط شده ی آنان در داخلی خانه شان است. موسیقی نیز تلفیقی از دوتار خراسانی (که ترکیبی از روایت و ساز است) و سازهای الکترونیکی است. در نهایت، ”کاریزما”، نمایشی بینارشته ای است که ترکیب بازیگران و تصویرشان، سولو، دوئت، تریو و کوارتت های متفاوتی می سازد برای به تصویر کشیدن خشم، درمانده گی، امید و ناامیدی روزمره ی این زن در داخلی خانه اش.

” کاريزما “

[براساس داستان “وقتی زنان، مردان را دوست می دارند.” اثر روساريو فره]

ايده و کارگردانی

پگاه طبسی نژاد

طراح صحنه و لباس

آتيلا پسيانی


عاطفه تهرانی

ناز شادمان


نسيم احمدپور


ماکان اشکوری


علی تبريزی

 حسين ذوقی

دستيار کارگردان

مهدی بوسليک

  • F A K  E     M E M O R R I E S
80 min
It is a site-specific play about the loneliness of the contemporary human and the meaning of home; it explores the borders we erect around ourselves to feel safe.  It is about a child trying to find home in his dreams.  The dreams are based on childrens stories such as Hansel and Gretel and games like Hide and Seek.  The loneliness of his family life affects his dreams, turning them to nightmares; eventually his reality and his dreams affect each other to the point that the two cannot be separated.

Watching the play from above the stage gives the audience a two-dimensional image made up of both horizontal and vertical lines; these contrasting images are then used to explore the boys dreams and his reality.

Written and Directed by Pegah Tabassinejad

Translators: Mehdi Kashani/ Aryo Khakpour

Editor: Aryo Khahpour

Scenographer: Parjad Sharifi

Puppet: Neda Kianmehr

Recorded Music : Chris Anderson

Live Music: Pouya Sadeghipour

Costume: Florence Barrett

Stage Manager: Kelsey Peacock

Performed by:

Aryo Khakpour……………………….Alademi

Minah Lee……………….……………Mai

Milton Lim………………………………Touska

Kaylin Metchie…………………………Torlan

Natalie Schneck………………………Mara

Katie Van Buskirk DeVries……………Narrator

Sound Operator: Lain Kim

Film Documentation: Amir Naeim Hosseini

  • C O U N T E R P O I N T #1
70 min
Counterpoint#1 is an experimental re-telling of the play, Elliot: A Soldiers Fugue by Quiara Alegria Hudes, the story of a young Puerto Rican soldier and his family as they try to make sense of his experience of serving in Iraq.

By having multiple actors sharing the same role and repeating scenes in which the words have been reversed or re-arranged, the piece explores the subjective nature of experience by de-stabilizing the original narrative.  Instead of following one persons vision, Counterpoint#1 brings together the perspectives of all the actors and artists and lays them on the stage for the audience to examine.  As certain key words or phrases are repeated or re-arranged, the text moves into territory traditional reserved for the silent subtext, thus opening up new ways for both artists and audience to engage with the material.

Concept and Direction: Pegah Tabassinejad
Dramaturge: Steve Neufeld
Composer: Nancy Tam
Choreographer: Katie DeVries
Video Designer: Jocelyn Chaput

Aliza Vellani
Baraka “Kiki” Al Rahmani
Graham Chabot
Khadija Cecelia
Marc Castellini
Nazli Akhtari
Valerie Christiansen

Stage Manager: Emily Neumann
Ass. Stage Manager: Beverly Cheung
Technical Director: Christina Andreola

  • Y E R M A

Yerma is a dance-theatre piece based on Yerma by Federico Garcia Lorca.  The performance includes five performers and three musicians.  This project is currently in development.

Director and Choreographer: Pegah Tabassinejad

Set and Costume: Attila Pessyani

Assistant Director: Amir Asani

Live Music: Makan Ashkevari


Attila Pessyani

Fatemeh Naghavi

Atefeh Tehrani

Navid Hedayati

Maral Irandoust

  • R E A D   M E 
an experience in linguistics and Performance Studies
an investigation around readability of a performance
Director: Pegah Tabassinejad
Music/ Sound:  Nikoli Gauer
Choreography and Text: Group Collaboration
Mariane  Bourcheix-Laporte
Gordon Havelaar
Jessie Kwan
Erika Mitsuhashi
Amir Masoud Niroumand
Natalie Schneck
Pardis Tabassinejad
Location: Simon Fraser University, October 2010
*This idea first had been worked in Tehran during a work shop with Bazi Theater Company:
Sahar Dowlat Shahi
Setareh Pessyani
Naz Shademan
Elham Shakib
Mehdi Sadr
and guests artists:
Makan Ashkewari
Maral Irandoost
Music: Ankido Darash
Video: Ali Tabrizi
Location: Shahr Theater, April 2009


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: