Dast-i nāmar'ī: Persiska (Farsi) 1402

The Invisible Hand uses the most familiar features and elements of Sam Shepard's writing. It feeds on archetypes, and at the same time, it has a partial view of the issues of American society. Immediate and frequent dialogues sit comfortably next to melancholic monologues. The author's inherent realism (this one also applies to his stories) has not blocked the path of leaps of thought and surreality. But in a general view, this is one of the plays in the light of which the intellectual project of the author can be understood: people who have lost their meaning and are at the bottom of the line, who, through the love of cars, action, excitement, and mixing Shabaroz with the manifestations of the new world, seem to be in search of an excuse. for a living, There is no need for improvement and the scenario seems to have found a compromise color with the incongruous times, for survival. This is between the meaning of the situation itself and the data of the text. A constant dialogue with previous texts is also in the tradition of the author, and Shepard Demy does not neglect Malouf's references. Dat Miri is one of the best and for us Farsi speakers, the most abandoned dramatic texts of the late American playwright.