bahram jalalipour

Psychoanalytic examinations of narrative works, particularly in dramatic literature, often concentrate on dissecting the actions of the characters. Yet, these analyses frequently linger on the surface level of characters' expressions and behaviors. However, delving into the hidden motivations, especially the suppressed impulses of these characters -a focal point in Freudian psychoanalysis-,can elucidate the underlying causes of their remarks and behaviors. Exploring the cause and effect can unravel its dramatic function within the dramatic work. This scrutiny holds particular significance in character-driven works as opposed to those centered on events. Martin McDonagh, the Irish playwright, intricately depicts the emergence of emotions and instincts of characters perceiving their inner state. Living in a critical historical juncture, these characters stand against a plethora of failures, shortcomings, and defeats. Therefore, looking into McDonagh's characters can prove fruitful in understanding their internal dramatic functions. This study examines, through the lens of Sigmund and Anna Freud's theories on psychological defense mechanisms, how McDonagh's characters interact with their internal destructive impulses in three plays: 'The Beauty Queen of Leenane,' 'A Skull in Connemara,' and 'The Lonesome West.' This research seeks to answer the question of what is the function of defense mechanisms in McDonough's works and how does the author depict the traditional Irish society in the form of characterization of his characters? The research findings underscore the efficacy of understanding defense mechanisms in the creation and analysis of dramatic characters. Likewise, in the examined plays, applying defense mechanisms, primarily denial, projection, and justification; society is portrayed as a structure masking problems rather than resolving them. Consequently, there appears to be no hope for redemption. Furthermore, underlying the mechanism of internalization by cyclic representation of traditional Irish society, McDonagh encircles both future generations and the preceding ones. In this way, we conclude that MacDonagh has a desperate view of saving traditional Irish society in his first trilogy.

 Considering the importance and position of fantasy in children's and teenagers' performances, it is important to study the types of fantasy in this theater and also how to benefit from special arrangements and effects to create it in stage theater. This article examines the fantasy in the works of Ardashir Kashwarsi and its focus is on the play "Hasan and Khanum Hana"; A show that was staged in the beginning of the 1360s under the direction of Keshavarzi in the city theater. Ardeshir Kashwari was among those who founded children's and youth shows, especially the puppet type, in Iran and played a great role in its development. However, until today, not much research has been done in relation to the way of working and the characteristics of his works, especially the show "Hasan and Mrs. Hana". In this show, agriculture has presented a successful adaptation of a western story, Jack and the Magic Bean, by using legends, stories, local customs and cultural standards of Iran. This research is of a descriptive-analytical type, with a combination of sources from library studies, field research (mainly interviews) and examines the play and performance of "Hasan and Khanum Hana", by using the theories of child psychology, it tries to incorporate fantasy elements into the work. Ardeshir Agriculture to specify. The investigations showed that the said show, by using the old story of Jack and the Magic Bean, and localizing it, and also by creating a fantasy adaptation, was successful and at that point in time, it was able to be welcomed by the audience of children and teenagers, even adults. 

The art of animation holds immense power. It has the ability to craft fantastical worlds and has been a powerful tool for storytelling. The depiction of characters and their physical forms has been a crucial aspect of storytelling. Animations have also introduced new concepts and ideas to challenge societal norms. One such concept that has recently been explored in animations is disability as a cultural concept. The purpose of this study is to explore the representation of disability in animations, unraveling the multiple layers and intricate dimensions associated with such portrayals. In this article, we delve into the portrayal of disability as a representation of identity disorder in the film I Lost My Body. We examine the correlation between one's physicality and their sense of self, with our main inquiry focused on how the relationship between body form and function intertwines with identity and how I Lost My Body depicts this connection. There are two models for analyzing disability: medical and social. In the medical model, disability is seen as an individual problem that requires medical intervention. Here, we utilize Mike Oliver's social model of disability and examine characters in feature films to acquire valuable insights into the intricate interplay among corporeality, identity, and body representation. Mike Oliver's social model of disability can provide a useful framework. This model posits that social barriers and exclusion are what create disability rather than any inherent physical or mental impairment. By applying this model to the protagonist's disability in the film I Lost My Body, we can assess how the movie addresses the connection between identity and physicality. Through this lens, we can examine how disability is portrayed and whether the film challenges societal stereotypes surrounding disability. By analyzing the film, it becomes apparent that Naoufel's physical disability gave rise to a unique identity for him. This identity is not characterized by damage or negativity, but rather by a stark contrast to the completeness and integration that his body once enjoyed. By living without an important and useful part of himself, Naoufel demonstrated a natural ability to move on from the past and embrace a separate existence, detached from his parental influence. Our examination of animated films highlights the impact that body perception can have on one's identity and actions. Through animation, creators have the ability to explore mental landscapes that challenge societal norms regarding physical appearance. By showcasing diverse body types, filmmakers encourage viewers to question their preconceived notions of beauty and embrace individuality. This article sheds light on how animated characters' physical appearance and abilities are critical to how they are perceived and accepted within their respective worlds. Additionally, we aim to address the passive portrayal of disabled characters in animation and instead, represent them as a normal part of society. Through our analysis, we uncover stereotypes surrounding disability in animated media, and we hope to encourage more nuanced and varied representation of disability in the future.

The little prince written by Antoine de Saint-Exupéry is a story in praise of common understanding: no one is perfect and to achieve peace and friendship, we must understand each other. It is not strange that this idea came up during the chaos of World War II; as it is still considered a deeply new subject. But The Little Prince, despite its poetic values and high human concepts, in its plot needs some reforms, especially for dramatic adaptation. In this article, the dramatic capacities of this story have been investigated with a comparative study of its film adaptation by Mark Osborne, emphasizing the narrative theory and the opinions of Linda Hutcheon and Deborah Cartmell in the field of adaptation. The result of the research show that the aforementioned anime film tried to present a modern adaptation of the work and by presenting the issues of today's childhood in the face of personal and social life, the story of Saint-Exupéry goes beyond the level of a symbolic story. In this movie, all three levels of Cartmell are noticeable. First, it has been transferred from the novel's narrative medium to the visual medium of the film, and the expressive means of the destination medium have been used to objectify it, which raises the considerations of adapting from the narrative form to the visual form, as considered by Linda Hatcheon. Secondly, this transition was accompanied by "commentary", because in it, a new interpretation of the story was presented according to the audience and the time, and the role of the school institution in capitalist societies in killing children's creativity and turning them into "great people" was criticized. Is. Finally, the director is not content to simply present an adaptation of The Little Prince and leave the comparison to the intertextual process of the narration. Rather, the film, with the parallel narration of the story of The Little Prince and the story of a modern-day little girl, has provided the possibility of "comparison" between them. In this way, the movie adaptation can be evaluated as a success.

This study explores the aesthetic manifestation of mono no aware, a term in Japanese philosophy and thought, in Japanese animation productions. This research explicates whether this concept is present within Japanese animations, and if so, in what manifestations. These issues are in the heart of the present research. Understanding this Japanese philosophical concept and examining its presence in Japanese animations can contribute to a better comprehension of the worldview that governs these animations.  The primary objective of this research is to explain the meaning of mono no aware in philosophy and aesthetics, and then to analyze the representation of this concept in Japanese animations. The study also delves into how the dramatic effect and manifestation of mono no aware are formed in Japanese animation. In addition, this research investigates how this concept manifests in the scene graphic and musical aspects of the investigated works. Furthermore, the present study examines the function of Mono no aware in shaping the characters of the animation's personages. The approach used in this research is descriptive-analytical utilizing library sources. The opinions of thinkers such as Motoori Norinaga and Onishi Yoshinori are examined to explain the main features of the mono no aware concept. Subsequently, two animations, To the Forest of Firefly Lights and Wolf Children, are analyzed using a semiotic approach. Images from these scenes are incorporated into the research for better clarification. The research findings are presented in two charts depicting the manifestation of the concept in each examined work. Despite the qualitative nature of this research, charts are included to illustrate a relative comparison between the two animations. These charts display the obtained scales of examined parts, including characterization, dramatic effect, scene graphic, and music. The research results indicate that in both animations, mono no aware is present to varying degrees, with a predominant manifestation in characterization and scene graphic, respectively. It is also evident, to some extent, in dramatic effect and music. The influence of narrative on all these aspects is crucial for obtaining these results. A significant secondary finding suggests that mono no aware is sometimes manifested in metaphors and legends within Japanese animation stories, such as Gin's fading in To the Forest of Firefly Lights or the death of the werewolf in Wolf Children. Sometimes manifestation of mono no aware is in the verbal literature and the behavior of the characters. Furthermore, according to the research findings, it has a fundamental role in the dramatization of a number of Japanese animations. These aspects not only provide a new perspective for the audience but also contribute to enriching and added layers of the narrative. Thus, it is apparent that Mono no aware can be manifested in Japanese animation, whether subtly or profoundly, over short or extended durations. Understanding the concept of Mono no aware proves valuable for comprehending the stories of Japanese animations and the art and culture of that region. Consequently, an enhanced realization of Japanese philosophy leads to a deeper understanding of the meaning of Japanese animations, suggesting a connection between Mono no aware and Japanese animations.

The treasure of Persian literature is considered a huge source for adapting and creating dramatic works, and Khamsa Nizami is one of the most important and appropriate works in this treasure. In the Tuesday Night episode of the Nizami’s Haft Paykar in the red dome, the story of Banu-ye Hesar is told. This story, which was called Turandekht after its adaptation, has been dramatically adapted many times because of its charm and elements of the story. For the first time, the Italian writer Carlo Gozzi made a Commedia dell’arte adaptation of Turandekht in the 18th century. Then, the German Schiller welcomed Gozzi’s play and wrote his Turandecht, and Berthold Brecht made a theatrical adaptation of this work after years of studying Chinese philosophy. In Iran, Reza Karam Rezaei has used the story of Turandecht as a basis for adaptation in the style of Takht Hozei. In this article, to determine the dramatic aspects of the story of Banu-ye Hesar and investigate the role of cultural and time factors in the adaptation of the ancient works, the story of Banu-ye Hesar and four theatrical adaptations were studied according to the theories of Hutcheon and Cartmell. The formalistic analysis of the story of Banu-ye Hesar shows that this system has many dimensions of theatrical features. Also, according to Hutcheon’s theory, there has been a change within the media in all the adaptation works mentioned. In the works of Gozzi, Schiller, and Karam Rezaei, the desired military theme is repeated and honored, while in Brecht’s work, the main theme has been turned upside down, and he has risen against it. In addition, based on Cartmell’s classification, it can be said that Gozzi, Schiller, and Karam Rezaei have used the transmission method and Brecht the method of interpretation in adapting the original work.

Language plays a fundamental role in Akbar Radi’s works. Therefore, language-based approaches can help us understand their dramatic action. This article analyzes “From Behind the Windows” from a linguistic stance by using William O. Beeman’s views. William O. Beeman (1947- ), an American anthropologist, considers language as a tool for exercising power and indicating the different statuses of people in social situations. He examines every action, regardless of its moral value, or its unethical burden, from the perspective of its communicative role. His book, Language, Dignity and Power in Iran (1986), is important from two aspects: first, it is a suitable model for us to see how anthropological studies can serve linguistic and dramatic studies; second, it helps us see our character as an Iranian from the perspective of an external observer. Therefore, it can be a suitable model in creating language-oriented drama and can be used in analyzing the behavior of Iranian characters. In this book, every action, regardless of its moral value or its unethical burden, is examined from the perspective of the communication role.  According to Beeman, there are two categories of symbolic cultural contrasts that shape the control aspect of communication events. Internal/external opposition and hierarchy/equality opposition. In his book, Beeman does not cross these two categories of opposition, but one can also see a kind of correlation between them, which occor in the play “From Behind the Windows”. This play depicts the thirty-year life of Bamdad and Maryam and their family relationship with Mrs. and Mr. Derakhshan. During these thirty years, while the Derakhshans are always progressing, Bamdad and Maryam are pushing back both in their private and social lives. Furthermore, we show that the atmosphere governing the discourse between the two couples in the show, as well as the atmosphere governing the discourse of each couple, is a kind of intermingling of internal-external and hierarchical poles. During the 30 years of family relationship, we have increasingly witnessed the formation and expansion of the intimate relationship between two couples. One witnesses economic and social advancement of the second couple, and the rule of the “host-guest” position creates a hierarchical relationship between the two couples.  In conclusion, “From Behind the Windows” is a work that is completely based on two opposites, and in this play, Akbar Radi, in the form representing two lifestyles, allows the audience to decide which is better: “science or wealth”. Certainly, analyzing the play at the lexical level (as Beeman describes in his book), can provide the audience with more information about the power relations in the play. Also, a similar research in other works of Akbar Radi can help clarify the power relations between exemplary characters in Radi's works. In the same way, a similar research in the works of other Iranian playwrights that is based on the language, will be useful and enlightening.

The play script is one of the main elements of a play; most of the weaknesses of a performance is often linked to the weakness of its play script. In the field of children and young adult theatre, too, play script is a fundamental element, since most of the theatrical performances in this field are based on text. However, in Iranian children’s theatre, this element does not seem to have received the attention it deserves. And in this respect, most of the plays of children and adolescents have serious problems. In this article, we have examined the main weaknesses of some Iranian children’s and adolescents’ plays based on the principles of Aristotelian drama and by studying the content and structure of twenty-five play scripts. Our hypothesis is that in terms of content, extra emphasis on the basic idea and repetitiveness of old themes are the main problems whereas in terms of structure, plot weakness is the main setback within the mentioned field. To examine this, 25 Iranian/Farsi play scripts published between 1998 and 2014 have been examined, selected from a wide range of works by veteran to novice playwrights and from a narratological point of view in both content and form (structural) aspects. All of them have been studied in detail in “The Dramatic Critique of the Plays of Children and Young adults” (Jalalipour, 1396). The research findings showed that in this field, the concern of creating educational and pedagogical works has often led to production of ideological works, which means that direct and instruction teaching and rhetorical and boring messages outweigh the attention to aesthetics and fun element of the text and the unfamiliarity of the authors with the characteristics and needs of the young audience has led to sticking to old and repetitive pedagogical themes and formulas. Structurally, we have demonstrated that the plays have hardly moved anywhere further than the original text in terms of narrative form. This is especially the case with those derivative plays, which constitutes a significant part of such works. Furthermore, most of the plays are characterized by weakness in dramatic elements (plot, characterisation, building the right atmosphere and writing efficient dialogues,…).

Attar Neyshaburi is one of the greatest mystics in 6th and 7th A.D. he is also known as the pioneers of Persian storytelling. Furthermore, he has profoundly affected both the mystics and storytellers after him. He has used anecdotes and stories in his works as an instrument to explain and confirm the mystic concepts and elucidate the stages to the righteous way. In this regard, any research should consider attar both as a mystic and storyteller. The present research has scrutinized the content and the narrative structure of Mantiq-ol-Tayr as one of the samples of fictional works of Attar. Mantiq-ol-Tayr is the most widely recognized work of Attar. Some adaptions have been extracted from some parts or the whole of his work. This research aims to explicate the dramatic aspects and alternatives for dramatic adaptation from it. Analyzing some of the present adaptations indicate that most of the adaptions have been faithful, whereas a successful adaptation should consider the background, time, and other related considerations related to the addressee and the targeted one.Using library resources and a descriptive-analytical method, the intellectual content and narrative structure of Attar's works have been analyzed in this paper. Then, some of the narrative considerations related to the adaptation of this work have been dissected for the stage through concentering on the content and theme of Manteghotteir. Eventually, some of the dramatic adaptations have been interpreted and some suggestions have been provided for dramatic adaptation. These suggestions will be probably able to mull over similar works.

During the past three decades the ‘fragmented writing’ style has developed as a literary breed and has turned into a symbol of the contemporary era and its calamities. Theatrical writing has not been an exception to this, as it has had a lot to offer to the world’s literary and artistic treasury in the form of various novel experiences. That is why, this research has found it inevitable to investigate the roots, methods, structural elements and semantic implications of fragmented writing, as an artistic practice symptomatic of our times. The research asks questions such as: what was the causes of diminishing the old, consistent aesthetics of 'Aristotle's Rhetoric' and replaced it by fragmented writing? Who are the effective individuals and movements that have led this transition in the theatre realm? What are the specific features and aims of fragmented writing aesthetics, as an alternative to the Aristotelian one? Considering the questions presented above, and despite the lack of much solid theoretical resources on the fragmented writing aesthetics specially in theatre – and certainly in Persian language – this research attempts to provide a structured framework on the definition, evolutional trajectory, influences, opportunities and challenges of fragmented writing method. For this, the research seeks to illustrate the relationship between fragmented writing to its contemporary philosophical trend – Pluralism. Further, the study endeavors to explicate the emergence of the fragmented writing’s historical and social context as an aesthetic style and identify its theoretical framework. Moreover, this study tries to clarify the terminological and implicational difficulties of the concept of the fragmented writing and particularly one of its important and basic arguments namely the differentiation between the "modern fragmented writing'" and the "postmodern fragmented writing". Last, the fragmented writing historical trajectory of evolution within the theatrical sphere is discussed and eventually in the final part of the paper, some of its aesthetic influences, opportunities and challenges are addressed. The research findings demonstrate that a collection of political, social, economic, etc. motives – which have caused the consistent and definite image of self, reality and truth become fragmented and scattered, known as Pluralism in the postmodern era – have provided fertile grounds for the fragmented writing to become the main and dominant form of writing in this period. This type of writing, as shown by this study, is the best translation and carrier of what is generally known as ‘sharing in art’ in contemporary cultural milieus.