نشریه هنرهای زیبا - هنرهای نمایشی و موسیقی
پیاپی 81 (بهار 1403)

Numerous scholarly works have explored the absurd theatrical movement and analyzed Beckett's plays. However, there is a noticeable lack of comprehensive analysis of the performative aspects within Beckett's theatrical works, with only isolated cases having been studied. In fact, the performances of Beckett’s plays have been neglected and this research seeks to fill this gap by employing a semiotic approach in the analysis of two significant performances: Krapp's Last Tape, directed by Atom Egoyan, and Endgame, directed by Samuel Beckett. Among many performances of Beckett’s plays, these two have been chosen due to their importance and significance of the absurd theatrical movement.While semiotics offers a fertile ground for cognitive studies, it has been underrepresented in the domain of drama and theater, despite its significant presence in this literary sphere. Early semioticians in theater primarily focused on dissecting dramatic signs and textual elements. However, starting in the 1980s, newer semioticians began emphasizing the analysis of theatrical performance. Drawing upon semiotic theories by eminent scholars such as Keir Elam and Eli Rozik, this research aims to unravel the intricate process of meaning production and transmission to both directors and the performing ensemble through a meticulous examination of semiotic signs within theatrical performances and a thorough comprehension of how these signs interrelate within the context of the performance.Theatrical metaphor and stage contracts emerge as pivotal components in the analysis of theatrical performances, particularly in absurd plays. According to Peirce's triadic classification of signs, metaphor belongs to the iconic category, with the governing principle hinging upon similarity between the sign and its referent. Rozik introduces another significant facet of metaphor, namely stage metaphor, which invariably involves a fixed entity to which a metaphorical statement refers. Scenic metaphor, at non-verbal levels, encompasses the actor's performance style, gestures, movements, and various other non-verbal forms. Conversely, stage contracts encapsulate a set of theatrical rules and norms that inherently do not elucidate their meanings. Rather, a comprehension of their meanings is derived through a detailed examination and analysis of the relationships of similarity or adjacency between these conventions within the presented domain. In essence, comprehending stage contracts serves as a tool through which a profound understanding of theater is attainable.Using a descriptive-analytical methodology, this research begins with an overview of theater semiotics. Subsequently, various types of metaphor and stage contracts, along with other vital components for analyzing theatrical performances, are meticulously scrutinized in the performances of Krapp's Last Tape and Endgame. This analytical approach aims to facilitate a comprehensive understanding of how directors and performers can grasp the nuances of readings and the intricate process of meaning production within these performances. Additionally, this paper explores the broader implications of semiotics in understanding the evolution of theatrical art and its role in contemporary dramatic performances. The study delves into the interplay of semiotics and theatricality, shedding light on how meaning is constructed and conveyed in theatrical performances, thereby contributing to a deeper comprehension of the artistic and philosophical dimensions of absurd theater.

Body movement is a controversial topic in multimodal narration analysis. Gesture, according to David McNeill (1994), is an integral part of speech, performing a crucial function, in the organization of thought into language. However in Farsi, due to the lack of consistent methodology in the field of gesture studies, most works have focused on verbal narration and a few number have addressed types and functions of gesture in oral narratives. This research, based on Cornelia Müller's framework of Methods for Gesture Analysis (MGA) argues how Naqqal may deploy bodily articulations to provide meaning to the event narrated in Naqqali. For this purpose, the scene of the second wrestle between Rustam and Sohrab was chosen from the recorded performance of “Sohrab's Demise” by Master Vali-o- Allah Torabi, an acclaimed Naqqal of Iran. The performance took place at a traditional coffeehouse (2009). The storyline is about how Rustam managed to defeat Sohrab and stabbed him while not realizing that they are father and son. Considering McNeill style gesture notation, gestures performed alongside speech were divided into 24 gesture phrases and six gesture units within two minutes and thirty seconds. Then the selected fragments were transcribed. Aspects of Kinesic form of the deployed articulators in gestural space were distinguished. Afterwards based on the embodied meaning of the actions each gesture unit was analyzed into three classifications: pointing gestures, depictive gestures, and pragmatic gestures.Our first encounter with this scene shows that the most important aspect of this performance is representation. More precisely, 18 out of the 24 gesture phrases performed, relate to the depiction of Rustam and Sohrab Wrestling. Second, the timing of gesture corresponds with what Naqqal wants to emphasize. For example, the narrator's posture is outlined through vertical orientation (1ʹ:33"), yet he narrates the last part with the least movement and lies on the ground horizontally (57"). Also, the focal emphasis in co-speech gestures draws the audience's attention to specific semantic aspects of the narrative: apart from showing Rustam gaining the upper hand in the second wrestle, the story tells us that the defeat of Sohrab is due to fate. In this respect, gestures compound the idea of "The wheel of fortune" metaphorically (e.g. G8). This gesture is the most complex one in terms of bodily articulators involved in the depiction of action (hands, head, gaze and upper body) as well. It challenges the audience with semantically reaching the point of the abstract concept. As the narration of the Naqqal reaches its climax, before the moment of Sohrab's death, the the gestures increase and the imitative gestures even replace the speech at that point. During such turn, only the demonstrative pronouns accompany quick descriptive gestures in the performance (e.g. G18-19). This essay applied descriptive tools from (MGA) to reveal facets of multimodal interaction in the style of master Torabi’s works. Further research is needed to extend the analytic scope to understand complexity of gesture and speech in Naqqali.

This research intends to analyze the relationship between the methods of representing social reality in documentary theater and its social impact by examining selected dramatic works of this genre. We look into two main things; first, how the methods and techniques of contemporary documentary theater, and specifically the works of Anna Deavere Smith, represent the issue of social justice, and second, how it is possible to suggest a standard criterion to evaluate and produce documentary works and dramas. To answer these, the documentary dramas written by Anna Deavere Smith will be examined as case examples. The analysis will be based on the theoretical approach of Alain Badiou, a contemporary theoretician in the field of philosophy, and ontology, and it is expected that based on the results of this research, the impact of the methods used in documentary theater, to represent the truth can be explained and analyzed. The approach of this research is descriptive, analytical, and interpretative, and the case examples are selected and analyzed, based on their importance and the methods used to represent social realities. By defining and describing documentary theater and its characteristics, this research reflects upon the possibilities of how this genre can represent social issues, using contemporary methods and technologies. In addition, the definition of standards and criteria are evaluated in documentary theater based on the successfulness to achieve the main goal, which is representing the truth. Anna Deavere Smith's works, taking into account the main task of documentary theater, that is the production of truth, has been able to produce truth in a stronger and more effective way based on Alain Badiou's views and his theory on the process of truth-procedure. To sum up, Anna Deavere Smith has successfully used verbatim technique in creating documentary dramatic works, and in providing dualities extracted from Badiou's theory and views. Another result that is observed in the analysis of Anna Deavere Smith's works is that with the passage of time, she has been able to be more successful in creating these dualities in her documentary plays. Therefore, through this study, it is suggested that Smith herself, has something similar to Badiou’s truth-procedure in mind, by using verbatim technique. The power of dualities of form has increased in her works, while the trend in content, has declined; reflective of her priority in writing. In general, Anna Deavere Smith has been more successful in creating a theatrical form of documentary. This research provides a “measurement criteria” to evaluate other documentary dramas, and a framework for making more successful documentary dramas in the future.

In recent years, female characters in the role of the main character of animations have been able to strengthen the audience's sense of identification with deliberate decisions in crises and special situations. The main character in an animation is the center of important events and attracts the children's sense of identity to the character with the type of illustration and animation. Therefore, taking into account the age group of the audience, it is important to examine the elements of attractiveness and plausibility of  main characters in popular animations, especially the recent productions from Walt Disney Company. The important issue is how to illustrate these characters according to events and turning points of the story. Using the descriptive-analytical method and with the aim of understanding the illustration of the main female character based on the threshold position theory of 20th century philosopher Mikhail Bakhtin, this research has investigated six main female characters in the following animations: Brave, Frozen, Zootopia, Moana and Encanto. The characters are from Disney animations from 2012 to 2021. They have been selected due to their popularity and the evolution of the main female character compared to the previous decades. The type of research in terms of method is qualitative and the result of observational and textual data analysis, and its structure is chosen based on the position of the illustrator. According to the theoretical framework, after expressing the behavioral and visual characteristics, each of the studied characters has been analyzed by specifying the level of the threshold position. Studies show that the characters have been illustrated by maintaining the style and special characteristics of Disney, based on race and culture, personality and behavioral characteristics, role and position in the story, non-verbal actions and the placement of the characters in the threshold position and critical moments. Also, each one is illustrated with a distinct element to attract the attention of the audience and strengthen the behavioral characteristics in the story and at the critical moment. From the investigations and findings of behavioral and visual characteristics, character illustration and character actions in Bakhtin's threshold situation theory, it is concluded that; based on their personality and behavioral characteristics, these characters show actions towards a specific and fateful event in their lives, due to which event they are placed in and a critical moment. Getting out of the crisis requires a decisive turn of events, which is accompanied by breaking the custom and being aware of dual confrontations such as failure/victory, death/life. This decision leads to the creation of a wonderful situation that causes regeneration in the life of an individual, family, tribe or society. As a result, the illustration and actions of the main characters are defined in order to strengthen the message of the story and clarify efforts to achieve their goals, beliefs and wishes in harmony with the critical moment and the final decision. So that the characters, by being in a threshold position, can convey the message of the story to the audience and have the greatest effect on its plausible existence.

In the realm of cinema, the portrayal of memories has long been a captivating and challenging endeavor. In the present article, the researcher investigates the representation of memory images in The Pear Tree )Dariush Mehrjui, 1998(, using an aesthetic perspective. To explore how memories are depicted and the motivations behind the cinematic arrangements employed, the researcher first examines aesthetic features such as de-familiarization. Further, to gain a deeper understanding of the film's form in The Pear Tree, the article employs a neo-formalist approach, emphasizing human experiences and the process of memory recall. A look at the process of remembering memories shows that humans remember an interpretation of any past event, and often cannot remember all the details and define past events in a linear way. As a result, it is not possible to fully access the complete memory, or the original event. The researcher takes a look at the history of depicting memories in cinema and examines the classic flashback and the photograph, which are widely used in cinema to depict memories, then the article draws upon successful representations of memories in world cinema, which have sought to mimic human memory experiences and harmonize form and content through cinematic tools such as cinematography and editing. By analyzing the memory images in The Pear Tree , the article concludes that Dariush Mehrjoui, in this adaptation of one of Goli Targhee's short stories, has adopted a formal approach to portray Mahmoud's (Homayoun Ershadi) memories, which are brought to Mahmoud’s mind by cues such as M name, pear tree and spider webs. Similar to previous successful examples in cinema history, Mehrjoui has strived to make the film's memory sequences more realistic to human memory recall, by leveraging the way these images are formed in the human mind. This approach has resulted in an aesthetic form in portraying the memory images. The film utilizes prominent roles for cinematography and editing tools. The memory images in this film are crafted with the help of these two tools, elevating the representations of memories above those in most Iranian films, which typically rely on jump cuts, playing with focus, point of view and subjective shots, image color changes, discontinuous editing, camera movements, dissolve, lighting, changing the exposure during filming by changing diaphragm, blurring part of the view, close-ups, motif, and the appropriate use of archive and nostalgic aesthetics. In addition, Dariush Mehrjui has been able to create a more precise form of memory recall by combining these different techniques and methods together in some of the memories. Mehrjui even tries to create a visual distinction between memories by reflecting the emotions and experiences of the person who remembers them. The article concludes that Dariush Mehrjui's use of de-familiarization and his focus on human experiences and the process of memory recall have enabled him to create a more aesthetically pleasing and realistic representation of memory images in The Pear Tree.

The Sasanian period, as one of that era's most prominent cultural epochs, is appreciated for its rich and vibrant music. The Islamic written sources are replete with references of this music and praise its beauty and significance. To truly grasp the essence of this music, it is imperative to examine all sources that have documented it meticulously. By delving into Sasanian music's history and evolution, a more thorough understanding can be achieved of that period's musical evolution.Among the narratives written and available on musical modes of the Sasanid era, two narratives are prominent, " Al-Lahve-val-Malahi" and" Moruj-al-Zahb and Ma'aden-al-Jawhar "which were written by Ibn-e Khardadbeh and Ali –ibn Masoudi, respectively. The specific feature of these two treatises is that they mentioned the names of modes as well as a brief explanation of them. Surprisingly, there are some significant similarities and differences among these two treatises. As scholars suggest, Masoudi has copied the book of Ibn-e Khardadbeh, and since both writers lived during the same time period, the contradictions may not be considered plausible. When several copies of Masoudi's text are studied, it reveals that the mistake of those recopied from the main text may not be a good cause as well. This article aims to explain those differences and their causes. The authors analyzed and compared these two texts' similarities and differences, using the historical narrative analysis method. Some differences between the two texts include meaningless words like "Sakaf" or "Madarosnan." These words may have been mistakenly read from Pahlavi's words. Another significant difference is the reference to the number of musical modes. Ibn Khurdadba mentions eight tones, while Masoudi mentions seven. The difference between the two numbers may be due to their writing style in the Pahlavi script. These numbers are written differently in Arabic but very similarly in Pahlavi. Therefore, it is possible that a Pahlavi text was also available to both authors, hence the cause of the misinterpretation and dissonance between the two authors.Also, one can observe differences in the dot's placement in words written similarly. This difference seems to be related to the writing rules of early Arabic texts. In the early writing style of Arabic during the first centuries of Islam, words were written without dots. Thus, it can be assumed that both authors probably wrote their texts based on the same early Arabic style.Finally, the analysis of this article revealed that the two persons compiled their treatises using the same original text in Pahlavid. At that time, the original text was available in the Pahlavid and Arabic. Evidence shows that the two original texts were incomplete, and the Arabic edition was translated from the Pahlavi language and written without "dots."  During the Sassanid era, texts called "Aeen Namak" existed. These texts were written to teach various subjects such as Chogan, cooking, chess, and others. It is believed that the Pahlavi text on which the two authors based their writings was “Aeen Namak" about music.