Between Reality and Revolution: A Critical Analysis of Farid Novin's "Axis of Coordinates"

In the charged political atmosphere of pre-revolutionary Iran, Farid Novin's 1972 play "Axis of Coordinates" (Mehvar Mukhtasat) emerged as a masterwork of theatrical surrealism and political allegory. Published by Nemooneh Publications, this remarkable text—now preserved in the archives of Tehran University of Art and Isfahan University—represents a sophisticated marriage of classical mythology, revolutionary prescience, and theatrical innovation. Before his creation of this seminal work, Novin had established himself as a keen cultural critic, contributing incisive commentary on literature, theater, cinema, and visual arts to prominent Iranian publications including Negin, Khushe, Zaman, and EtellaAt newspaper.

The play's dramatic architecture pivots around a singular moment: the death of its protagonist, Old Leila, witnessed by her nephew Farhad. This tableau serves not merely as a narrative fulcrum but as a metaphysical portal through which Novin explores multiple dimensions of existence, memory, and political consciousness. The stage design itself becomes a meditation on liminality, featuring a meta-theatrical window that faces the audience, complete with an attached ladder—a physical manifestation of the threshold between reality and the supernatural, between the present moment and eternal time.

Through this portal emerges a carefully orchestrated cast of characters that transcend temporal and mythological boundaries. Young Leila appears as a spectral counterpoint to her dying elder self, while Yahya embodies Farhad's subconscious, echoing Hafez's poetic exploration of the divided self. Perhaps most striking is the figure of the violinist, who claims the identity of Marsyas from Ovid's "Metamorphoses"—a character whose musical contest with Apollo results in divine retribution for his hubris.

The play's title itself suggests a mathematical precision in its mapping of intersections between time, space, and meaning. Like points plotted on a Cartesian plane, Novin's characters mark precise coordinates where classical mythology converges with contemporary Iranian reality. This geometric metaphor extends to the play's treatment of moral and political polarities, most notably in its juxtaposition of two biblical figures: Mary Magdalene and Oholiba.

These characters serve as powerful political allegories in the context of Shah-era Iran. Mary Magdalene represents those dissidents who, through regime persuasion, abandoned their opposition to assume positions within governmental institutions like the Plan Organization. In contrast, Oholiba—the unrepentant figure from the Book of Ezekiel—symbolizes intellectuals who maintained their resistance despite severe consequences. This dialectic between acquiescence and resistance forms a central tension in the play's political subtext.

Novin's mastery of symbolic language allowed him to navigate the era's strict censorship while embedding profound political commentary. A seemingly innocent reference to "Imperial soap"—an actual consumer product in Iran at the time—becomes a coded allusion to the Shah's secret police (SAVAK), demonstrating how everyday objects could be transformed into vehicles for political critique.

The play's prescient quality manifests in its recurring reference to an impending "happening event"—a clear prefiguration of the 1978 Iranian Revolution. This anticipatory element suffuses the work with an atmosphere of imminent transformation, as characters exist in a state of perpetual waiting for a change they sense but cannot fully articulate.

Beyond its immediate political context, "Axis of Coordinates" achieves a universal resonance through its exploration of fundamental human questions. The non-linear structure and supernatural elements create a psychological landscape where mortality, redemption, and the cyclical nature of human experience are examined through multiple cultural and historical lenses. By bringing together biblical figures, classical mythology, and contemporary Iranian reality, Novin creates a rich tapestry that transcends specific cultural boundaries while remaining deeply rooted in its historical moment.

The play's surreal atmosphere serves not merely as aesthetic choice but as epistemological strategy, allowing for an examination of how truth and meaning are constructed across different temporal and cultural contexts. Through its innovative structure and rich intertextual references, "Axis of Coordinates" challenges audiences to consider how personal, political, and metaphysical forms of authority intersect and conflict in the human experience.

In the end, Novin's work stands as both a document of its historical moment and a timeless exploration of human consciousness under pressure. Its sophisticated integration of political commentary, mythological reference, and theatrical innovation creates a work that continues to resonate with contemporary audiences, offering insights into both the specific conditions of pre-revolutionary Iran and the universal human struggle for meaning and freedom in the face of political repression.