رحمت امینی

This research studies The Stormy Trek of Farman Son of Farman Through Darkness by Bahram Beyzaie, and Aramsayeshgah by Bahman Forsi to examine the undecidability between sanity and insanity in a mental asylum setting. The study reveals a lack of a precise border between the two, with the sane becoming insane and the insane becoming sane. The mental asylum setting acts as a threshold space, functioning as a border between sanity and insanity. The primary tool for mixing this binary opposition is the use of aporia as a rhetorical device which is related to the subjective views of the characters. Each character sees events from their own perspective, and there is no clear indicator to measure the truth of their statements. By challenging the traditional understanding of binary oppositions, specifically the sanity/insanity duality, this research suggests a new way of approaching these concepts. The aporia of sanity/insanity, utilizing space and subjective view, questions the perfect model of sanity and insanity, encouraging the audience to adopt an attitude without the need for definitive decisions. It is not about taking a stance between the two, but rather acknowledging that subjective views can influence truth, and the absence of a clear model creates meaning with a delay. Drawing on post-structuralist ideas, this research aligns with Jacques Derrida's challenge to binary oppositions in Deconstruction. It highlights the overlap and lack of complete conflict between the two sides of the opposition, as concepts can include their opposite points. This perspective in drama creates a new attitude towards concepts that traditionally have precise boundaries or are preferentially treated. In conclusion, the findings emphasize how the atmosphere of the mental asylum, coupled with the use of subjective view, contributes to the formation of the aporia of sanity and insanity in these plays. The lack of clarity in the border between reason and madness directs attention to the shared space between them, offering the audience an alternative way of perceiving the world. In general, the use of aporia in plays set in a mental asylum has a thematic significance which spreads the aporetic theme throughout the plays and makes them aporetic and self-deconstructive. Furthermore, the thematic use of aporia can be applied to drama using different binary oppositions. This means that the deconstruction of different aporias can act as the theme of drama and make it self-deconstructive.

History of the concept is a field that explores the changes and metamorphoses that fundamental concepts and semantics undergo through time, and then recounts the history using the lens of said concepts. Fundamental concepts are widespread ideas that create change in a society, and also depict the historical chronicles of a society. According to Reinhart Koselleck, history of the concept is a hybrid subject, utilizing social history, historical linguistics, and historical semantics and bases its theoretical framework and methodology on critical history, principle of time and simultaneity, semantics, and convergence of concept and history. Accordingly, these concepts act as revealing forces of ideas, social and ideological structures; and since they have a historical essence and occur in history, they can have different meanings and functions in relation to the history of each country and nation.Using the history of meaning theorem, the concept of modernity, which has a foundational essence, is hereby studied in the context of dramatic literature; this concept has a foundational essence since upon entering Iran during the reign of Fath-ali Shah of the Qajar dynasty, it caused serious changes in the country’s political and social structures and brought forth new events which indicated the manner of occurrence and the meaning of modernity in Iran. To explain the meaning of this foundational concept at the beginning of the history of dramatic literature in Iran, the plays and works of Mirza Fathali Akhundzadeh will be analyzed and studied; First, the meaning and examples of modernity in his dramatic works are interpreted and defined according to the principle of diachronic, and then, according to the requirements of the history of the concept and the existence of different and similar definitions of modernity in the social field of Akhundzadeh’s time, modernity in Akhundzadeh’s dramatic literature will be studied using also the perspectives of Amir Kabir, Naser al-Din Shah, Malkam Khan and Haj Sayah based on the principle of simultaneity and ultimately, the semantics of the concept of modernity will be formulated based on the history of the concept theorem. The necessity of such research is that modernity as the existence of dramatic literature, was the main subject of Akhundzadeh’s plays, and therefore such a foundational concept should be known and studied for its meaning at the beginning of Iran’s dramatic literature history and for how it was represented in a part of Iran’s history, not following pre-determined dictionary definitions, but by integrating it into its proper context.

This research examines the challenges of forming a trade union in Iranian theater and if this research is not done, theater artist, unlike the previous decades, will still be unaware of their rights in art associations. They can determine their profession as a job (not as seasonal work) and defend their rights.

The approach of this qualitative and documentary research is based on labor laws and trade unions and quasi-trade union experiences, and by reviewing and comparing limited laws and theories, the researcher was able to find solutions to identify the employer and the legal personality of the theater artist according to internal experiences.

The findings of this research state that the official occupation of the theater as an employee or worker is not defined according to the national employment and the social security laws, and the theater artist as a professional and freelancer is assigned by the government's cultural institution (Ministry of Guidance) to the insurance organization. Social worker is introduced to enjoy the basic insurance of social security, but no other rights and benefits have been awarded to him. Due to the lack of definition of the official job of theater according to Iran's labor law, so far no universal trade association and practical job services for theater artists have been established, and thus, theater artists do not have the support of the trade union, insurance and protection of the labor law. In Iran, based on the solutions of the world theater trade union, the most important of which is independence from the government, income generation, and the right to freedom of protest and strike, there is no theater trade union, because the labor and employment laws and the labor and employer organizations of Iran and the world in terms of function, license, and service delivery , are different from each other. That is why theater quasi-unions are formed with the purpose of union work and in the form of the cultural-artistic association, and they lack the basics of union work, which is the determination of the role of the employer and worker and the labor contract. Due to the lack of a legal mechanism governing the identity of workers and artistic employers, Iranian theater artists do not have full health and pension insurance, unemployment insurance, pension rights and job protection because their job is not registered in the labor law and they do not have an employer. According to the law approved by the Islamic Council, a worker can benefit from occupational pension and insurance services if he has a certain income, a work contract and an employer. For this reason, in the system of the social security organization, it is defined as a free profession and occupation, which is called "professionals and free occupations" in the legal definition; Like drivers and carpet weavers who pay the major part of the insurance themselves. The lack of an employer in the theater has caused the employer's contribution to the Social Security Organization not to be paid, and unemployment insurance, retirement benefits, and full labor insurance for artists are not formed.The social security insurance for artists, though limited, is established for professional theater people, while non-professional theater people and artists who work independently and are not members of theater institutions, do not enjoy the same incomplete insurance of artists, and their number is tens of thousands; From students and graduates of theater, to whom 2000 people are added every year, to experimental amateur artists and independent professional artists without government or association affiliation.  The problem is that the same insurance for artists does not include all artists and those who are insured do not enjoy all insurance and public pension services, and in addition to these inadequacies, the stagnant record before joining a theater organization is also lost, and all this is the result of third-party management. The big theater, the lack of economic mechanism in the theater and ultimately the lack of formation of an official and independent union was due to the lack of the employer's role. In the theater of the world, theater guilds play the role of patrons, but they are not employers, but with legal means, they receive the artist's rights from the employer and support him when he is unemployed.Therefore, the employer has the main role in the labor rights process and the trade unions have a supporting role with their independence. In Iran, there is a deficiency on both sides of this process, because the temporary employer (theatre or director) is not required to pay salaries, and there is no official and independent guild to support the artist. For this reason, the government has entered into trade union activity and supervises the artistic work by paying subsidies to artists. In fact, the government is not the employer and does not pay the employer's salary, but by paying a subsidy to a part of the artists, it has a supervisory role over all. The question is why during the past decades, why has not an employer been created for the theater so that a legal job can be formed and its guilds grow?  The answer to this question is related to the theater's income, economy and disorderly management. In a theater where the artist lives on a government subsidy and according to the statistics of the General Department of Performing Arts of the government, most of the performances are bankrupt, there is no possibility for the formation of a legal relationship between the employer and the worker and the union. It is in such conditions that pseudo-unions are formed for the social presence of artists; Institutions that have the goal of trade union work but do not find the legal and occupational possibility of trade union work based on what was said.

As a result of this research, for the first time after the beginning of professional theater in Iran, the challenges of forming a trade union in Iranian theater are identified: Failure to identify the legal roles of the employer and the worker (the person who works) in the theater; Lack of union independence and dependence on the government; Lack of union concentration in one institution; The impossibility of economic work and income generation in existing trade union laws; Disconformity of legal and service guilds with theater guilds of the world; Incomplete medical and pension insurances for artists; Lack of unemployment and accident insurance; The mass birth of government guilds and quasi-art guilds, instead of an official and united and universal guild; Lack of historical transition of guild and syndicate in theater and small and scattered guild experiences; Lack of trade union knowledge and trade union management among artists; The government's involvement in the formation and licensing and trade union supervision; Lack of permission for unions to cooperate with the people and to benefit from the economic power of the people for the members of the union; Lack of research in this field; Failure to inform artists about trade union rights

Lecture-performance is a hybrid form consisting of a lecture and a performance part that together act as a unity. In this form, although the lecture part is trying to give a specific meaning to shed light on a subject, the meaning is not solely produced by the lecturer, but through the cooperation of the lecturer and the performance using different theatrical signs, the presence of audience as meaning creators. The important point here is that this form tries to activate the audience participation in meaning-making and challenge them to question the surrounding world. To show how this meaning formation process works in this form, About Truth has been analysed. This lecture-performance is about the concept of truth and how it is perceived throughout history and among people from different groups. Rhetorical Criticism is the suitable method for analysis since it shows the relation among the lecturer/performer, the lecture/performance, and the audience, and aims at finding how meaning is produced in different texts to affect the audience. Rhetorical analysis in the lecture-performance is done in three steps, 1) finding the aim of the text, 2) how that aim is fulfilled, and 3) the aesthetic analysis of the lecture-performance. This is the first academic study on the subject of lecture-performance with a focus on rhetorical criticism and the results are as follow: the aim of the work was to highlight the concept of ‘truth’ and challenge it. It was done using different tools, such as stage prompts, colour coding, genders, dancing, acting, irony, and of course, lecturing. Without understanding the relation of different parts of the performance to the topic, the meaning would not be clear. Audience needs to decode the visual and vocal signs to make meaning for themselves. This artistic force renders meaning in different levels which helps audience to challenge themselves and have a critical view. It is opposite of the passive role of audience in conventional lectures in which they just receive the fixed information. Aesthetically speaking, this production is appealing as it has used artistic mediators and through them, has put the meaning in subtext and made an atmosphere in which its audience creates meaning using whatever they can hear and see.

Selected dramas with subject-themed themes and sentimental characters, with an emphasis on immediate and irrational experience, make it possible to study Deleuze's philosophy. This research intends to introduce the concept of human as a subject beyond rationalism from Deleuze's point of view and to explain the analyzable reading of postmodern human by reading plays centered on empiricism and the philosophy of empiricism. To investigate this, plays have been selected that are a successful example of the experience of evaluating the human concept in postmodern drama. These works evaluate the position of human from a philosophical point of view and prove that the position of sense and experience is beyond the view of rationalists. This thinking can give the subject the courage to go beyond being human or even the courage to become a mere empiricist. This article seeks to answer these key questions: Modern presents? ”, And“ How can such an approach to the meaning of human in drama be reflected in the quality of drama characterization?In this direction, the present study selects the dramas of Vitsk, the furry gorilla, the little black horse, the meeting of the old lady, the strange story of a dog, the guinea pig, the story of the panda bears, the animalless theater, the pious human-animal, the banal tiger and the glass zoo As case studies, it intends to study the concept of human based on the philosophical meaning of living and the experience of individuality of this concept.

Goldone/Goldones depicted in Ismail Khalaj's play "Ms. Goldone" - which is one of the most important works produced in the Iranian play workshop (1969-1979) - have a capacity for multiple interpretations. Because, they are embodied not in a single, but in multiple bodily forms. The method that ultimately leads to its semantic breadth. Hence, this work opens the door to various interpretations and readings for the audience. An opening that regains its cohesion as Goldone becomes the center of weightiness. That is, Goldone both opens the door and somehow escapes its breadth; because it is the central point and connecting link of the components.With these explanations, in the present study, three readings of Goldone's idea – an idea, not a person - will be considered; One based on "language", the other with the centrality of "space" and finally with the focus on the "body" of Goldone. Selection of these three aspects has been inductive. In other words, the choice is based on the direct encounter with the play and based on the noticeable use of the author of these three aspects; and not based on a primary assumption and framework. It starts with the specifics to get to the general pattern. This is because it is in this way that we will be able to find an analysis commensurate with the coordinates associated with this particular work. Therefore, the main method of research formulation is inductive content analysis, and in terms of advancing the analysis, also descriptive-analytical method will be used.Results pointed out that despite the apparent multiplicity of Goldones, they share some similar criteria that connected them. In each language, nostalgia is somehow visible. The past instills the idea of ​​morality and felicity in the character's presents. In the reading of space, all four show signs of the former ideal space that is now collapsing. The space is currently declining in the face of industrial and developed life. The analysis of the body also showed that the Goldones eventually embodied in the form of a common body named Zari. Zari's final movements, in the best possible manner, reveal the news of the disappearance and ruination of Goldone beyond a person. The moment of death and destruction of a collective idea. An idea which was embodied on the stage in the form of a female body.

Boredom is one of the major dilemmas of the 21-century man. Some consider this the result of excessive leisure and some as a specific disease that may be afflicted by anyone. In Chekhov’s plays, boredom is one of the predominant features of characters; these characters are bored, and this boredom does not necessarily maintain a particular cause. Many critics deem this as a consequence of a special Russian lifestyle of that period. Decades later, Heidegger in one of his creditable theses considers boredom the existential feature of human which has roots in their Dasein. In fact, to Heidegger, boredom is specific to human’s individual existence. Heidegger defines boredom in three diverse levels which vary in terms of their depth, and he identifies the existential boredom as a boredom which is the deepest one and leads us to our existential origins. In this research, it has been illustrated that Ivanov’s boredom represents his existential boredom rather than the boredom which stems from a special Russian lifestyle or his psychological status; the boredom which suddenly enfolds him, cripples him, and subsequently exposes him to all potentials of his existence.

The concept of "body" goes beyond a set of organs and functions that are regulated by the laws of anatomy and physiology. The body, above all, has a symbolic structure that provides a medium for the projection of cultural forms in their broadest forms. In this study, examples of this assumption will be followed in the study of plays produced in the Iranian dramatic literature of the Sixties and Seventies. An era that was accompanied by fundamental changes. In the mid-1970s, two-thirds of the country's population was young people under the age of 30. The country's education system also grew slightly to threefold. Influenced by the "post-colonial" discourse that flourished after World War II, this broad class at one point turned to the leftism; And turned to jihad in opposition to the regime of the time. The objection manifested in the literary / artistic productions - which are considered works in praise of the mass uprising -. This resistance is manifested in different levels of works; Among these, the "body" will be considered in the present study. Among the works of Art/Literary, an outstanding play by Gholam-Hossein Saedi, “Chub be Dast-haye Varsail” will be analyzed. In order to analyze the various aspects of the "body" in this play, first of all "gender; Appearance" is considered. In the next part, "body movements", and after that, "body stillness and creating illusion and imagination of movement" and its implications will be discussed. Finally, we will consider a topic that is specific to this play. the unique aspect of ‘body’, which has shown itself in the "Metamorphosis of the body”. Results indicate that the process of emphasis on the certain dimensions of body, helped the writer to alienate some characters. This process is possible by usage of the body's capabilities, for example by transforming shape of the body towards the animal figure.

John Dewey thought that the mission of philosophy was social change, and the desired change could be achieved through education. Human growth is perpetual, and so education should not be limited to a specific period of life, rather it should be a part of the process of life. The class and school years always come to an end eventually, however, the influence of social educational institutions must be continuous. Cultural and artistic measures such as applied theaters are useful educational tools that can have a great effect on the moral growth and social life capabilities of the citizens. Augusto Boal developed the idea of the Theater of the Oppressed (TO) to reach the starting point of change in life. TO provides an opportunity for people in society to express their inner desires. Here, certain situations similar to reality are created, where the audience is allowed to practice and experience life, without having to endure losses and lose opportunities. This study was mainly based on secondary research using existing fundamental works on Dewey’s aesthetics and education philosophy, aiming to provide applied research for empowering Theater of the Oppressed (TO) and presenting solutions to increase its function. After a review of TO, the theater of the Rainbow of Desire was explored in a special section, showing that it is possible to improve the mental health of the spect-actors by creating sympathy among them and encouraging them toward expressive actions.

John Dewey thought that the mission of philosophy was social change, and the desired change could be achieved through education. According to Dewey, the sole purpose of education is to reform society and pave the way for social progress, thus demonstrating the necessity of education for the survival of society. Cultural and artistic venues such as educational theater are useful venues that can have great effects on moral growth and desired social change for their communities. Creative Drama provides an opportunity for people to express their inner desires. Here, certain situations similar to reality are created, where the audience is allowed to practice and experience life, without having to endure losses and lose opportunities. Dewey's aesthetic and educational theories can be useful in increasing the social and artistic function of creative drama.This study was mainly based on secondary research using existing fundamental works of Dewey's education philosophy and aesthetics, aiming to explore the effect and importance of theatrical plays as a means of promoting education in schools and the community at large. The main features of applied theater are introduced and suggestions are provided to increase the effectiveness and function of this art form as a way to improve people's social lives. For this purpose, after examining the basic concepts of Dewey's philosophy (e.g. pragmatism, experience, aesthetics, education, and the role of theatrical plays in education) certain and specific aspects of the applied theater are introduced. This study also included a case study of creative drama based on Dewey's educational theories. By re-reading creative drama, suggestions are presented in order to use Dewey's educational theories, hoping to help artists to take proactive steps in the field of education aimed at social awareness and change.According to Dewey, students develop in an educational setting where they can experience and interact with the issue at hand. Each and every student needs to play a role and cooperate in their learning process. Dewey believed problem-solving to be the best teaching method, fitting individuals for life and empowering them to solve problems in their personal lives and their social interactions. Problem-solving was deemed the best teaching method by Dewey, which leads to creative drama and its effectiveness since its base foundation is formed around the theory of problem-solving. The first step in creative drama is to tell a story to students thoroughly. This paper seeks to show that when a story is told to students incompletely, in order to be completed by them in a creative drama, a problem will be formed in their minds, encouraging them to solve it. If the content of creative drama is presented to learners in full detail, their mental engagement with the content will be reduced, and, consequently, their ability and motivation to interact will diminish. Performing creative drama based on problem-solving exposes students to the problem in a creative manner; they are encouraged to cooperate and think to bring the drama to a desirable end. Placed at the core of problem in creative drama, students are forced to think and provide solutions that ultimately are skills that they will need in their own lives.

Transcending the confines of the playhouse, street theater expands its scope of influence over streets and communities and goes beyond the traditional rules of the classical stage to establish a deeper connection with different audiences. Street theater artists commit themselves to the realities and issues of society and use the street theatre as a medium to make a difference in the lives of those people with whom conventional theater fails to communicate due to political, economic, and cultural reasons. John Dewey’s views on aesthetics and education seem useful for improving the social and artistic function of street theater, because he prioritizes the functional aspect of art, maintaining that for things to be valued by humans, they need to both fulfill human organismic needs and pave the way for the improvement of lives. To Dewey, the job of philosophy was creating social change, which, he believed, is achievable through education. Based on his point of view, experience shapes the basis of education, the goal of which is to prepare individuals for active and positive participation in society and, as he puts it, “achieving greater growth”. Conducted as desk research, the present study consulted Dewey’s philosophy of aesthetics and education to offer pragmatic ways to empower street theater. The effort found that by relying on Dewey’s ideas and by portraying themes of everyday life, this form of theater can make use of its potentials to change lives and inspire the social, individual, and moral growth of citizens. Moreover, street theater can create empathy among members of society, making them a united whole when it comes to tackling social issues. It is hoped that the study use of Dewey’s philosophy as a source can help street theater artists become accomplished social activists who make society a better place.

Comparative literature, is a research on relations between world literature and review of all intellectual and literary transactions that moves from territory of ethnical language to near or far ethnicities. In this article we compare and analyze the tragic story of Rostam and Sohrab by Ferdowsi and William Butler Yeats “The Death of Cuchulain”. Shahname by Ferdowsi is one of the precious works in Persian and world literature that can be reviewed from various viewpoints and has immense effect on world literature and “Cuchulain” is an epic Irish play is an important examples of Shahname’s effect. Since there have been many research in comparative aspect of these two works, in this article by use of interdisciplinary approach which is a new step for align comparative projects with other majors and with aim of increasing research in this area these two works has been reviewed. Due to importance of psychology in epic and mythological literature, in comparative review of these two epic works, psychoanalysis was used and the results were remarkable. In this article we aim to have closer look to psychological context in these two works and by reviewing characters behaviors we find this conclusion that how concepts like Oedipus complex, ambivalence and also unchangeable faith exist in these two epic works and can be analyze and compare with each other.

The term xenophobia describes a social phenomenon rooted in fear and hatred of foreigners from different ethnic groups. This phenomenon is understandably reflected in five Shakespearean plays: The Merchant of Venice, Othello, The Tempest, Titus Andronicus, and Anthony and Cleopatra; among which, The Merchant of Venice has more importance in addressing foreign characters and groups (i.e. Shylock the Jew, Jessica and etc). In studies conducted on this subjected and printed in books, thesis, and articles in Iran and abroad, no direct reference has been made to the reflection of xenophobia in Shakespearean plays. The subjects most often dealt with in sources focused on prejudice, colonialism, racial discrimination, histories of immigration, and political-economic relations between different ethnic groups and race in Shakespeare’s era. Shakespeare in India and South Africa: Colonialist versus Colonized (Rafiei, 2001) and The Mutual Effect of Drama and History during the Elizabethan Period with Emphasis on the Historical Shakespearean Plays (Bonyadi, 2003) are two of these sources. So are Shakespeare and Politics (Moradi, 2007), and Islam and Politics in Dramatic Literature during Elizabethan Period (Asadi Amjad et al., 2001). This article intends to analyze the events that take place in The Merchant of Venice, and to merge them with the “ Integrated Threat Theory (ITT),” “In Groups,” and “Out Groups” in order to analyze the reflection of xenophobia in Shakespeare’s dramatic literature. The main purpose of the research was to identify and explain the concept of xenophobia in The Merchant of Venice and to clarify its social roots by use of sociological theories. The following questions were raised as the research questions in order to achieve the mentioned goal: A) What is the xenophobia phenomenon and how is it reflected in Shakespeare’s The Merchant of Venice? B) How is the xenophobia in The Merchant of Venice different from that in other Shakespearean plays (Othello, the Tempest, Anthony and Cleopatra, and Titus Andronicus)? While addressing the theoretical framework this article uses historical and analytic-comparative methods and relies on library sources and pictures, to present the subject under two headings: A) Shakespeare and the xenophobia phenomenon; In this section, the roots leading to the formation of xenophobia in Shakespeare’s era, and the reflection of xenophobia in his plays, are identified and explained by using a sociological approach. B) The Merchant of Venice and xenophobia; under this heading, the play is reviewed first, and then the relationships of the characters, especially of Shylock with xenophobia are explained. Finally, the play is merged with the Integrated Threat Theory. Analysis of the dialogues and events of the play revealed the fact that economy and Judaism were the most pronounced elements of group conflict and created xenophobia among the characters in the play. Moreover, the research findings indicate that, compared to the other four plays, the characters in The Merchant of Venice can be easily classified using the definitions of “In Groups” and “Out Groups” and The Integrated Threat Theory. In reflecting the xenophobia phenomenon, Shakespeare intended to criticize racist and prejudicial behaviors. In fact, he advocates equality and justice in the Elizabethan society.

Designing cognitive and psycho-motor aspects always have priority on designing social-emotional aspects and to a large extent we can say that educational designing of social-emotional aspects are forgotten. Since different parts of education are linked together and the creation of favorable educational outcomes such as problem-solving and creativity needs to attention to each of the cognitive, psychological, Physical and emotional Social, so this study aims to provide guidelines for designing social-emotional aspects of social constructing of learning environments based on Creative Drama, which is a multi-sensory and interactive media. The method used in this research is descriptive and analytical-based strategy.

“Ending,” one of the most important elements of a play, can have an important impact on the minds of the audience. There are some different contributing factors to it such as structural elements, characters, writer’s style and socio-historical milieu of the play. In many of Chekhov’s plays there is a “firearm” which leads to the fateful encounter of “the final interplay” between opposing forces; the firearm which is more than a mere object in the play. It can be a means from pleasure hunting to a means for menace, suicide or personal confrontations. To measure the influence of this firearm in Chekhov’s plays—both as a structural element and a socio-historical factor in Russian life—the composition date of his plays were pondered over in this survey, and it turned out that the influence of this traditional object of Russian life in effectuating the denouement has decreased in his later plays to the extent that two such firearms in his play “The Cherry Orchard,” have become the only firearms in all of Chekhov’s plays that don’t fire.

Redefining the term Happening as an executive manner in the contemporary art seems necessary at the present time, because on the one hand, the term Happening is negotiated itself and it is translated to terms such as event or attracted events, etc., and on the other hand, because of its structural elements and features, there is no comprehensive and scientific definition and due to the definitions given in different resources, it has been created more doubt, suspicion, and even myths about happening. In this paper it is tried to define this executive manner with the help of Happening Art creator’s views Alan kaprow.

Hamlet is the one of the most famous characters in the drama who many theorists have commented about him. One of those characteristics which is significant is melancholy. Melancholia is a disease in which a person is suffering from certain mental attitudes is not shown in his regular behaviors. The question of this article is that: How his melancholic behaviors have influence on his explorer character and how it change his way of detection. Prince Hamlet who is a young intellectual, attacking melancholy his character changes and do some works that is not expected. In this essay which is used by analytical approach we answer this question.