John Farmanesh-bocca’s journey to becoming a director is anything but conventional, weaving through dance, choreography, and acting before culminating in a distinctive directorial voice deeply rooted in physical theater and socially conscious narratives. His story offers valuable insights into the multifaceted path of an artist dedicated to impactful storytelling.
From Ballet to Directing: An Organic Artistic Evolution
Farmanesh-Bocca’s artistic foundation was initially laid in the world of dance. He began his career as a dancer, proficient in both ballet and post-modern dance forms. This early immersion in movement naturally transitioned into choreography, revealing a burgeoning interest in shaping narratives through physical expression. His pursuit of deeper theatrical understanding led him to New York University’s Tisch School Experimental Theater Wing. Here, his extensive movement background harmonized seamlessly with the demands of acting, creating a unique synergy in his performance approach. Even before completing his studies at N.Y.U., John Farmanesh-Bocca’s aptitude for teaching was recognized, and he became a teaching assistant for physical ensemble classes, further solidifying his expertise in this area.
Directing emerged as a natural progression for John Farmanesh-Bocca. While actively working as an actor and choreographer, he gradually embraced the director’s role. His specialization in physical theater, a less common approach on the West Coast where he spent considerable time post-N.Y.U., set him apart. Prior to his pivotal move to Juilliard in 2003, he established Shakespeare Santa Monica, an organization dedicated to physical theater, showcasing his commitment to this unique theatrical style.
The Juilliard Experience: A Crucible of Growth for John Farmanesh-Bocca
Juilliard represented a significant turning point in John Farmanesh-Bocca’s career. His path to this prestigious institution was somewhat serendipitous. While mentoring arts-focused high school students in California, he routinely led college tours to New York. During one Juilliard visit, a student’s illness led them to the lobby, where a brochure about the directing fellowship caught their eye. The student’s suggestion, “You should do this,” sparked an unexpected application. Against considerable odds, John Farmanesh-Bocca was accepted into the program, selected as one of only two directors from a vast pool of applicants. He humorously likened the competitive selection process to “American Idol for directors,” emphasizing the honor of his acceptance.
However, John Farmanesh-Bocca’s time at Juilliard, from 2003 to 2005, was marked by intense personal challenges. The onset of his father’s stroke and subsequent family stresses coincided with his studies, making it a period of significant personal and artistic turbulence. He candidly describes Juilliard as an “up-and-down experience,” acknowledging the profound learning derived from both successes and failures encountered there. He believes Juilliard can be transformative in diverse ways, either empowering graduates to confidently face the professional world or leaving others to grapple with necessary, albeit difficult, artistic growth. For John Farmanesh-Bocca, Juilliard served as both, ultimately propelling him forward. In the year following his graduation, his prolific output included involvement in twelve opening nights, encompassing roles as producer, director, actor, or a combination thereof.
Not Man Apart: Re-examining the World Through Ancient Tales
A significant focus of John Farmanesh-Bocca’s recent career has been the development and success of his theater ensemble, Not Man Apart. The company’s mission is to “tell tales that re-examine our world,” primarily through the lens of ancient stories reimagined for contemporary audiences. He articulates a belief in the enduring truth embedded within ancient narratives that have survived through time. Not Man Apart has produced a compelling repertoire of works under John Farmanesh-Bocca’s direction, including Pericles Redux, Titus Redux, Hercules Furens, Lysistrata Unbound, and Ajax in Iraq. The first three productions are described as modern adaptations of Shakespeare and Socrates, demonstrating his commitment to reinterpreting classical texts. Lysistrata Unbound, a contemporary retelling of the Aristophanes classic by Eduardo Machado, featured the acclaimed Olympia Dukakis, further highlighting the company’s artistic caliber. Ajax in Iraq, produced in 2013, is described by John Farmanesh-Bocca as a “brilliant and heartbreaking” play by Ellen McLaughlin.
Ajax in Iraq and the Power of War Narratives
Ajax in Iraq held particular significance for John Farmanesh-Bocca and Not Man Apart as it shifted their thematic focus to the experience of war itself, rather than its aftermath. While previous productions explored “after-war” and “returning-home” narratives, Ajax in Iraq delves directly into the conflict zone. The play skillfully draws a parallel between the ancient Greek tragedy of Ajax and the modern story of A.J., a female American soldier in Iraq confronting sexual assault within the military. Despite the seemingly disparate contexts, McLaughlin masterfully interweaves these narratives to highlight the devastating impact of post-traumatic stress, leading to madness and suicide for both characters. John Farmanesh-Bocca emphasizes the play’s profound impact, calling it “a stunner.”
The recurring theme of war in John Farmanesh-Bocca’s work is deeply personal and reflects a broader societal reality. Coming from a military family, he possesses an intimate understanding of the subject. He also points out the pervasive presence of war throughout American history, stating that the U.S. has been at war for 222 out of its 239 years of existence. His mixed American and Iranian heritage further intensifies his awareness of global conflicts. For John Farmanesh-Bocca, war is inherently dramatic, representing a life-and-death struggle that exposes both the “ugliness of man” and the “greatest humanity, kindness, and sacrifice.” He believes that preserving humanity is paramount for soldiers in war, and similarly, humility and empathy are essential for artists. He observes a striking parallel between the soldier’s need for resilience and sensitivity and the artist’s balance between toughness and empathy.
The performances of Ajax in Iraq were followed by weekly talkbacks with New Directions, an organization supporting veterans, particularly women, dealing with PTSD and trauma. These sessions, facilitated by “patriotic, anti-war women,” provided invaluable education and allowed the audience to channel their emotions into practical support, such as donating to New Directions and engaging in volunteer work.
Future Directions: Continuing to Tell Vital Stories
Looking ahead, John Farmanesh-Bocca remains committed to exploring themes of war and resilience, aiming to demonstrate “how hope and growth can come out of conflict.” He is currently developing a TV series centered on war and veterans, recognizing the urgent need to address veteran suicide, particularly in light of the Veterans Suicide Prevention Bill. He grapples with the ethical question of his right to tell these stories, ultimately concluding that his responsibility as an artist compels him to do so. John Farmanesh-Bocca sees his role as an artist to “connect people’s hearts to their heads” through powerful and meaningful storytelling.
