A small group of mullahs possess scholarly knowledge and, like other experts in social sciences, their expertise is valuable to society, much like the expertise of anthropologists, linguists, sociologists, lawyers, and political scientists. However, many other mullahs are not scholars, particularly those who, as Hafez suggests, “pulling off acts just for the public eye” and gain popularity through populist means. These individuals are akin to actors in theater, film, and other performing arts, as they have honed their acting skills and can deeply affect the emotions of their audience by modulating their voice, altering their tone, and controlling their own emotions. In this regard, these mullahs and famous actors in the cinema share a similar role.
Some subtle differences separate these two types of actors and contribute to their divergent destinies. The initial distinction lies in how conventional actors openly present themselves as actors, using the title of actress/actors, allowing the audience to recognize their profession. However, this knowledge does not hinder the audience’s ability to empathize with the characters they portray, regardless of whether the roles are joyful or sorrowful. On the other hand, mullahs who act consistently conceal their true selves behind the characters they portray, striving until the very end for the audience to perceive their performance as genuine and serious. According to Hafez, many of these actors retreat into solitude, implying that their actual lives do not align with the emotions they express on stage. The second distinction lies in the fact that ordinary actors perform in everyday matters without assuming a sacred persona, whereas mullahs engage in their activities under the guise of holiness, attempting to convince people that they speak on behalf of God and the Prophet. This blurs the line between the theatrical performance and reality, causing people to not seek genuine advice but instead become immersed in the fabricated world of the show. The more significant difference is that traditional actors primarily focus on entertaining the audience and occasionally portraying characters that evoke sadness, drawing inspiration from the genuine struggles and hardships of individuals to shed light on real issues. On the other hand, mullahs prioritize eliciting tears from the audience and base their subject matter on ideological delusions that have no connection to the actual problems faced by society. Consequently, people cry for something that does not exist in the real world.
Meanwhile, we are prompted to seriously question why in Afghanistan, comedians do not hold a position or receive the same advantages and resources as those who evoke sadness and tragedy. It is perplexing that those who bring joy to people are deemed worthless, while those who spread sorrow are honored and respected. We must contemplate why those who shed light on the harsh realities of life are considered insignificant, while those who acquaint us with death and mourning are appreciated and hold esteemed positions. This matter necessitates sociological analysis as it exposes a flaw in the functioning of our society and unveils bitter truths. If we foster the growth of modern art, actors will find their rightful place and there will be no need for pretentious performers.
Read this article in Farsi here.