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 Member since Nov '08
Working languages: Farsi (Persian) to English
English to Dari
English to Farsi (Persian)
Dari to English |
|  Rahmani
Nothing But Quality Matters
Middlesbrough, England Local time: 05:08 GMT (GMT+0)
Native in: Farsi (Persian)  | | |
Farsi - English Translator | Freelancer,  Verified member | | Translation, Editing/proofreading, Subtitling, Post-editing, Transcription, Project management, Operations management | | Specializes in: | | Anthropology | Government / Politics | | Philosophy | Psychology | | Social Science, Sociology, Ethics, etc. | Journalism | | Advertising / Public Relations | Business/Commerce (general) | | Mathematics & Statistics | Education / Pedagogy |
| | Questions answered: 51, Questions asked: 0 Easy / 0 PRO, PRO-level points: 11 | 1 entry| Outsourcer name | Country | LWA  | Comment | Outsourcer feedback | | Hidden | Iran | 5 | With the substantive volume of assignments that I have fulfilled with this service provider, I have had a pleasant experience of empathy and punctually sustained payments. | Thanks Ali! |
More Less | Sample translations submitted: 1Farsi (Persian) to English: Farsi-2
General field: Art/Literary
Detailed field: Poetry & Literature | Source text - Farsi (Persian)
تاريخچه:
موسسه فرهنگي هنري خانه تئاتر در زمستان سال 78 توسط عده اي از هنرمندان و مسئولان وقت تئاتري تاسيس شد. زماني كه دكتر حسين سليمي رئيس وقت مركز هنزهاي نمايشي دو سالي از مديريتش در اين سمت مي گذشت
او به همراه دكتر مجيد شريف خدايي (رئيس وقت شوراي نظارت و ارزشيابي اين مركز )،لاله تقييان (مسئول انتشارات نمايش و سردبير ماهنامه نمايش) ،حسين قرايي(مسئول وقت امور مالي مركز هنرهاي نمايشي)،ايرج راد (بازيگر) ،آتيلا پسياني (بازيگر ،نويسنده و كارگردان تئاتر ) و دكتر محمود عزيزي (بازيگر ، مدرس ،پژوهشگر و كارگردان تئاتر)در دفترش گرد آمدند و پايه گذار نهاد صنفي شدند كه مي يايد شانزده .هدف مهم و اساسي اهالي تئاتر را دنبال مي كرد.
اين هيئات موسس پس از عضو گيري موقت خانه تئاتر ،در جلسه مجمع عمومي كه به منظور تصويب اساسنامه و انتخابات هيئات مديره موقت خانه تئاتر برگزار شد، ادامه فعاليت اين تشكيلات صنفي را به آن هيئات مديره واگذار كردند . بر اساس اين تصميم گيري مجمع عمومي،هيئات مديره موقت شش ماه فرصت داشت تا اشكالات و ايرادات اساسنامه رابر طرف ساخته و پس از برگذاري مجمع عمومي ،فوق العاده اين اساسنامه را به تاييد نهايي اعضاي خانه تئاتر برساند. هيئات مديره موقت با برگذاري اين مجمع عمومي در مهرماه 79 پس از تاييد نهايي اساسنامه خانه تئاتر توسط اكثريت اعضاي حاضر در مجمع،نخستين انتخابات هيئات مديره خانه تئاتر را به مدت دو سال برگزيد. در اين انتخابات ايرج راد، آتيلا پسياني ، اصغر همت ، دكتر محمد رضا خاكي ، بهزاد فراهاني ، بهروز غريب پور ، رويا تيموريان ، داوود فتحعلي بيگي ، دكتر فرشيد ابراهيميان و داوود آريا به ترتيب به عنوان هفت عضو هيئت مديره ، دو عضو علي البدل هيئات مديره ،بازرس و بازرس علي البدل خانه تئاتر انتخاب شدندو امور اين نهاد صنفي را به آنها سپردند.اين هيئات مديره پس از انتخابات ،خانه تئاتر را در اداره ثبت شركتها به ثبت رساندند و سپس مقدمات هشت انجمن صنفي تئاتر را شامل انجمن بازيگران ، كارگردانان ، نمايشنامه نويسان ، منتقدان ،نويسندگان ، نمايشگران عروسكي ،طراحان صحنه و لباس ، كاركنان و طراحان فني و هنري و انجمن تئاتر خياباني را فراهم كردند كه به همت تعدادي از اعضاي اين انجمن ها تاسيس و تشكيل شد.البته به گفته ايرج راد رئيس هيأت مديره سابق ، مدير عامل و نايب رئيس كنوني خانه تئاتر در اساسنامه خانه تئاتر تشكيل 11 صنف يش بيني شده است كه اكثر اين صنوف با تدوين اساسنامه و تشكيل مجمع عمومي و انتخاب هيأت مديره كار خود را آغاز كردند.
1-بر اساس اين پيش بيني ها قرار بود انجمن تئاتر سنتي ، انجمن تئاترهاي آزاد و انجمن مدرسان و پژوهشگران تئاتر تشكيل و تأسيس شود.هر چند كه تشكيلات انجمن مدرسان و پژوهشگران طي چند بار گرد همايي عده اي از مدرسان و پژوهشگران متاسفانه هنوز به دلايلي چند به سرانجامي نرسيده است ،اما اساسنامه خانه تئاتر در 3 فصل شامل 37 ماده و 9 تبصره با حضور اعضاي حاضر قرائت شد و به تصويب رسيد.به گفته رئيس سابق هيأت مديره خانه تئاتر اساسنامه بعد از دقت نظرها و تغييرات صورت گرفته از طريق وزارت ارشاد تصويب شده است.
2- بر اساس اهداف اساسنامه خانه تئاتر كه در 16 بند تنظيم شده ، خانه تئاتر موظف است از حقوق صنفي – اجتماعي و مادي معنوي اعضاي خود و امنيت شغلي حرفه اي پشتيباني و دفاع كند . همچنين تلاش براي فاهم آوردن امكانات رفاهي اعضاء از طريق راهنمايي- مشاوره – كمك به تشكيل صندوق تعاون و شركت تعاوني و نيز در ارتباط با بيمه كلي اعضاء و تامين اجتماعي از ديگر اهداف اين موسسه به شمار ميرود.
اهداف خانه تئاتر:
بر اساس ماده هفتم اساسنامه خانه اعتلاي سطح دانش و بينش عمومي به ويژه نسبت به هنر تئاتر و هدايت و رشد استعدادهاي ارزنده بالقوه هنري و ايجاد هماهنگي و همكاري بين گرايش ها – گروه ها – ادارات – نهادهايي كه با امر تئاتر سروكار دارند از طريق زير و ديگر روشهاي متناسب و پيشرفته امكان پذير خواهد بود.
1-تلاش به منظور دستيابي به تئاتر خلاق و پويا كه بيانگر خواست ها و نيازهاي فرهنگي جامعه باشد.
2-كوشش به منظور ارتقاي سطح كيفي و كمي تئاتر و اعتلا و گسترش فرهنگ تئاتر
3- ارتباط و همكاري با ساذمانها و نهادهاي فرهنگي و هنري و گسترش فعاليتهاي پژوهشي و كوش براي گسترش و فراگير كردن تئاتر از رطريق جلسات و سمينارها ،انتشارات ،آموزش و ثبت تئاترهاي داخلي و داشتن مجموعه ثبت شده اي از تئاترهاي خارجي.
4-ايجاد فضاي مناسب تفاهم و همكاري بين اعضاء
5-تلاش به منظور توسعه فعاليتهاي تئاتري و زمينه سازي و پشتيباني از توليد مستمر تئاتر در كشور و تأثير گذاري در بهبود سياست هاي توليد تئاتر.
6-تشكيل هيأت هاي كارشناسي براي برسي مشكلات و ارائه راه حل هاي مناسب به منظور دستيابي به پيشنهادهايي برتاي بهبود وضئيت تئاتر .
7- جلب همكاري سازمانها و نهادهاي دولتي و عمومي ،افراد حقيقي و حقوقي و اثبات اهميت و ضرورت رشته تئاتر و جذب حمايتهاي مادي معنوي آنان.
8- ايجاد بانك اطلاعات تئاتر .
9- حمايت از حقوق گروهاي جوان و دانشگاهي تئاتر،تشكل هاي صنفي و مستقل و ايجاد هماهنگي و همكاري بين آنها و خانه تئاتر .
10-حمايت از تئاتر شهرستان و ارسال نشريات تخصصي و اعزام استادان و فن آوران به سراسر كشور براي آموزش هاي دوره اي .
11- تشكل تمامي هنرمندان كشور در قالب انجمن ها و كانون هاي وابسته به خانه تئاتر و ايجاد حس همكاري ميان آنها .
12-فراهم آوردن امكان مبادله گروهاي تئاتري براي اجرا در خارج از كشور.
13-اتخاذ روشهاي اصولي و مناسب براي رفع اختلاف ها و كمبود ها ،نارسايي ها و موانعي كه به اهداف خانه تئاتر آسيب ميرساند.
14-تلاش براي ايجاد تالارهاي جديد بامشاركت بخش خصوصي و سازمانها و نهادهاي ذيربط.
(حمايت از تئاتر جزو اهداف اساسنامه خانه تئاتر به شمار ميرود و به گفته راد ((مدير عامل خانه تئاتر)) :بايد در جهت تقويت تئاترهاي شهرستاني تلاش زيادي صورت گيرد .وضعيت جشنواره ها مشخص شود و پراكندگي تئاتر به شكلي رفع شود).
| Translation - English
A Brief History
The Cultural-Artistic Institute of the “Theatre House” (Khane-ye Te-Artr) was originally founded in winter of 1999 by a group of artists and theatrical officials of the time. At the time, Dr Hussein Salimi was already at the second year of acting in his role as the directorate of the performing arts centre.
In their strife to construct a comprehensive program reflecting to the objective realities of the theatrical needs of the time, Dr. Salimi in his office along with colleagues and other personnel with artistic backgrounds including Dr. Majid Sharif Khodaee ( the head of advisory and evaluation council at this centre), Laleh Taghian(officer responsible to publication and the chief editor of the play’s monthly digest), Husein Gharaee( treasurer of the performing arts centre), Iraj Rad (actor), Atila Pesyani (actor, writer and theatrical conductor), Dr. Mahmoud Azizi( actor, researcher, lecturer and theatrical conductor) succeed ed in devising a 16 part program that was ought to have projected the most essential ideals of theatrical aims and objectives within its context.
The general assembly was convened later on that year to ratify the same constitutional principles that the above founding committee had originally articulated. The management committee that was provisionally comprised of the founding members, was then comprehensively transferred the responsibilities onto the newly elected members through the dynamics of the general assembly.
To sustain efficient developments, it was decided at the first general assembly that the provisional management committee to pursue alleviating disparities and within six months to eradicate problems that were considered as barriers to progress. An extra-ordinary general assembly was then to be convened to assess the tasks undertaken to this effect.
At a general assembly meeting in October 2000, the provisional structure of the management committee gave way to a two yearly management committee of the “theatre House” whose members were duly elected by majority rule at this very assembly. The formation to the management committee of the Theatre House (Trade Foundation) that was made of 7 permanent members, two alternate members, an inspector and an alternate inspector, were made of the following personnel respectively:
Iraj Rad, Atila Pesyani, Asghar Hemmat, Dr. Mohammad Reza Khaki, Behzad Farahani, Behrooz Gharib Pour, Roya Teimoorian, Davood Fat Hali Beigi, Dr. Farshid Ebrahimian, Davood Aria.
The Theatre House was subsequently registered as a trade foundation with the 8 inner trade councils including : actors society, conductors, play writers, sceptics, writers, doll plays, stage technicians and cloths, staff , art technicians and street artists. It is however imperative to attend that, there are other trades within the perimeters of the Theatre House that are yet to be officially recognized. In this connection, Iraj Rad, the former leader of the management committee predicts that the total number of professional trades within Theatre House extends to 11. Under the current structure, stipulated by the constitution, governed by the general assembly and under the directorship of the new management committee, the majority of these trades are already operating in creative mode.
1. On the basis of these predictions, there were meant to be a society for traditional theatre, Society for the freelance theatres, and a society to represent researchers and lecturers to be formed and established. Though, the formation of society for the lecturers and researchers has in few occasion been assembled, but due to technical reasons, it has not been consolidated. it is imperative however to note that according to the constitutional directions at the theatre house, in order to sustain such development at the theatre house, there are three chapters with 37 articles and 9 clauses allocated to this effect that has also been read out as a public statement. Further more, following a deeper review and thorough modification, the case is being re iterated by the constitution and has also been supported by the ministry of guidance.
2. On the basis of the constitutional objectives of the Theatre House, that is devised in 16 categories, the Theatre House is duty-bound to protect and defend the rights of the members from social, financial spiritual, and employment aspects. The Theatre House is also responsible to ensure the social and material well-being of its members through advice, consultation, help to create financial assistance, introduce cooperative financial schemes and also to facilitate members with general insurance policies and social care.
The Aims of Theatre House
In virtue of the article seventh of the Theatre House constitution, the feasibility of the members’ educational capacity , their world outlook in particular to art and to the enrichment of the inner potentials are all realizable through the appropriate application of the following components:
1. Ambition to attain the development of a creative and innovative theatrical environment that is reflective of the publics cultural needs.
2. Endeavour to elevate both the qualitative and quantitative dimensions of the current theatre to give birth into a new theatrical culture.
3. To develop link and cooperation with other cultural and artistic institutions , to expand on the current research activities, to promote theatre through intense publicity, attending seminars and to invite foreign theatrical heritage for registration.
4. To develop suitable environment for better understanding and better cooperation among the members.
5. Rigorous attempts to expand theatrical activities by laying the necessary ground for the continuity of theatrical productions within the country and to improve the politics theatrical productions.
6. Attempt to produce a board of expertise to offer solution to difficulties combined with the introduction of schemes to advance theatrical features.
7. To attract and promote cooperation with governmental and public institutions and also personalities whose contributions would positively impact theatre.
8. To develop a theatrical information bank
9. To protect the rights of youth and university students in theatre, creation of independent trade associations and to help generate cooperative links among them and the Theatre House.
10. To protect theatres in towns, keep them posted with specialised circulations, dispatch and provision of expert personnel, lecturers towards periodical trainings.
11. To develop conditions upon which the entire artists would have the opportunity to join as a member to the Theatre House through their own independent society.
12. To develop exchange groups for the purpose of cooperating with external estates.
13. To adapt just routines in alleviating differences and discrepancies and barriers that if not appropriately treated, they could ominously influence the theatre house.
14. Attempt to create new theatrical halls with the partnership of the private sector, institutions and other inclined foundations.
(As a core component of its constitution, protection of theatre, is considered as the sole objective of the Theatre House. As quoted by Iraj Rad ( Theatre House Director): more emphasis should be directed towards the protection of the theatre from other towns. The position of the festivals needs to be clarified. Theatrical disparities must somehow be rectified )
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More Less | | English to Farsi | | Years of translation experience: 11. Registered at ProZ.com: Feb 2008. Became a member: Nov 2008. | | N/A | Farsi (Persian) to English (T-University, NERS, ITL)
| | N/A | | Across, Adobe Acrobat, Adobe Photoshop, Microsoft Excel, Microsoft Word, wordfast, Wordfast | | English (DOC), Farsi (Persian) (DOC) | | About me
For a profile-account reflectiv of my linguistic capacity, I consider a brief chronology to 35 years of my life-experiences in United Kingdom (England), should be fairly adequate:
Entry to UK October 1974
UK - Pre-Advanced level courses in UK technical colleges including English Lnguage Certificate i.e. GCSE-AEB(Assiciated Examining Board) grade 'C'. 1978
Iran - for 8 months working as a journalist for Tehran Times daily English newspaper78/79
UK - Advanced Level, pre-University courses in Mathematical subjects - "A'Levels", 1979
UK - University graduate in BSc, MSc in Mathematical Sciences 1983, 1984
UK - Research-Assistant practitioner for MPil/PhD in Applied maths -"thermal contact resistance" 1987
UK - Academician for 18 years.
UK - Minimum of 10 years as a freelance practitioner in Farsi <> English language domains, covering a wide range of of subject areas e.g. Legal, Scientific, Journalistic, Social, Medical, Technical, Documentations, Sport, Family, Commercial etc...
WHAT MAKE MY SERVICES UNIQUE?:
If experiential knowledge is widely understood as the only credible universal criterion to the authenticity of man's knowledge credentials, then 35 years of highly active and professional life experiences in United Kingdom (UK) within the perimeters of scientific and socio-academic domains, is therefore a comprehensive measure of the knowledge capacity by which the authenticity of its credentials could truely be substantiated.
But, this only constitutes half of the equation, and for the other half i.e. for the Farsi language, the realisation that Farsi is an "implicit" medium, mandates a unique knowledge insight, cultural awareness and vision maturity to transmit effectively and appropriately the embedded culturally affiliated semantics into the target language i.e. into English.
Now, the combined knowledge components of the two diverse mediums i.e. the "explicit" English and the "implicit" Farsi", coexisting side by side, is that "unique" condition that is profoundly conducive to the true integrity of the Farsi<>English translation process. |
Keywords: English, Farsi, translation, literature, proofreading, software, Localization, editing, culturally embedded semantics.
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