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     Bahram Beizaei

نام: بهرام بیضائی

تاریخ تولد: 1317 


متولد 1317 در تهران. تحصیل نیمه تمام در رشته ادبیات

در زمینه تئاتر بسیار موفق بود. نمایشنامه های بسیار زیادی نوشت که بعدها نمایش های بسیاری بر اساس آنها به روی صحنه رفت. و نشان داد که سینما را هم خوب می شناسد.  در زمینه سینما هم توانایی های خود را نشان داد. فیلمنامه های روز واقعه، مسافران و سگ کشی از شاهکارهای او به حساب می آیند. او در حال حاضر بهترین کارگردان سینمای ایران به شمار می رود.

رگبار (1351)
غریبه و مه (1354)
کلاغ (1356)
چریکه تارا (1357)
مرگ یزدگرد (1361)
باشو غریبه کوچک (1365)
شاید وقتی دیگر (1366)
مسافران (1370)
گفتگو با باد (فیلم کوتاه، 1377)
سگ کشی (1379)

Bahrām Bayzāi (also spelt Bahrām Beizai, Bahrām Beyzaie, Persian: بهرام بیضائی, born 26 December 1938 in Tehran) is an Iranian film director, theatre director, screenwriter, playwright, film editor, producer, and researcher.

Bahram Bayzai is the son of the poet Ostād Ne'mat'ollāh Bayzāi [1] (best known by his literary pseudonym Zokā'i Bayzāi - ذکائی بیضائی). The celebrated poet Adib Ali Bayzāi, considered as one of the most profound poets of the twentieth-century Iran, is Bahram Bayzai's paternal uncle.[2] Bahram Bayzai's paternal grandfather, Mirzā Mohammad-Rezā Ārāni (Ebn Ruh - ابن روح), and paternal great-grandfather, Mollah Mohammad-Faqih Ārāni (Ruh ol-Amin - روح الامین), were also renown poets.[3]

Bayzai is part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s and includes other pioneering directors such as Abbas Kiarostami, Forough Farrokhzad, Sohrab Shahid Saless, and Parviz Kimiavi. The filmmakers share many common techniques including the use of poetic dialog, references to traditional Persian art and culture and allegorical storytelling often dealing with political and philosophical issues.

Bayzai was interested in the arts from a very young age. In high school, Dar ol-Fonoun,[4] he wrote two historical plays which went on to become his preferred method of writing. He studied literature at Tehran University, but started skipping school from around the age of 17 in order to go to movies which were becoming popular in Iran at a rapid pace. This only fed his hunger to learn more about the cinema of Iran and the visual arts. At the age of 21 he did substantial research on the traditional Persian plays, Book of Kings (Shahname) and Ta'zieh and by 1961 he had already spent a great deal of time studying-and researching other ancient Persian and pre-Islamic culture and literature. This in turn led him to studying Eastern Theatre and traditional Iranian theatre and arts which would help him formulate a new non-western identity for Iranian theatre. He also became acquainted with Persian painting.

By late 1961 he had already published numerous articles in various arts and literary journals. In 1962 he made his first short film (4 minutes) in 8 mm format. In the next two years he wrote several plays and published "Theatre in Japan".

In the next eight or so years of his life throughout the early to late 1960s, Bayzai dedicated to writing in various publications about Eastern art and Persian literature enabled through his extensive study and also wrote a number of essays about Iranian cinema which later became the subject of one of his books. It is during this period he write the popular books which are often regarded as masterpieces; The Eight Voyage of Sinbad, Banquet, Serpant King, Dolls, The Story of the Hidden Moon and many more.

In 1968, Beyzai became one of the first people to join the Iranian Writer's Guild, a highly controversial organization in Iran in the face of censorship, known as the Kanun-e Nevisandegan-e-Iran.
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