parastoo mohebbi

Abbas Kiarostami and Gilles Deleuze were unconventional figures, Kiarostami with his films and Deleuze in Film Studies. But both of them have one thing in common, and that is to return to the question of the essence of cinema. Kiarostami, especially in his three works, Birth of Light, Five, and 24 Frames, with techniques such as de-dramatization of random encounters and completely accidental disturbances, questions the common realism and the perception of the immediate recording of reality by the camera, and on the other hand, Deleuze with his ideas follows establishing a new ontology of film trying to find a new answer to the question of what is cinema. By putting forward the concepts, the movement- image and the time-image in relation to other concepts such as perception, action, affect and crystal, Deleuze draws a theoretical structure to show how a film works. According to Deleuze, the work of film analysis and film-thinking is to develop concepts that are related to cinema. According to him, every film has goals, and cinematic techniques such as framing, plan, and montage make sense in relation to these goals, but these techniques assume those goals and do not explain them. It is the goals that make the specific concepts that Deleuze is talking about. In the present research, an attempt has been made to examine some of these concepts in the face of three works by Abbas Kiarostami. At first glance, it may seem that the three mentioned films do nothing but reproduce the visible world; It means reality, and here nature is captured in a de-dramatized and de-personalized state without the intervention of humans or subject. But in Deleuze's approach to these films, it is made clear that they are not only not representing the visible, but are in the process of making visible. Because of the three films, The Birth of the Light, Five and 24 Frames, have been pushed to the limits of the essence of cinema, they reveal a perception of life.

Bruce Ellis Benson, in his phenomenological theory The Improvisation of Musical Dialogue, points out that in the creation and performance of a musical work, there is always a platform for improvisation that brings the composer, performer, and listener into a kind of discourse. Through hermeneutic phenomenology, he presents his theory in the context of Western classical music and jazz with an overview of musical traditions and applications. Improvisation has always had a special place in Iranian classical music. The purpose of this study was to investigate the concepts of Benson's design on improvisation, including the ontology of the musical work, the originality and identity of the musical work, the limitations of creative performance and how to convey the composer's intention to the audience based on Iranian classical music. In this research, which is in the category of qualitative research, the research method has been applied in terms of purpose and descriptive-analytical in terms of methodology with a phenomenological approach. All material is obtained through the library method. The results show that in Iranian instrumental music, "Radif" plays an important role as a musical world for a dialogue. Improvisation has an interpretive nature in Iranian music and Iranian classical music composers, along with ontology in Benson's theory, always enter into an open dialogue on the application of Iranian music in creating a piece of music. In composing their musical works, Iranian instrumental music composers always enter into an open dialogue based on the tradition and application of Iranian music, and contrary to the common notion that improvisation and composition are created out of nothing; Composing in Iranian music is always based on the tradition and works of the past (Radif, ancient works and even the composer himself) and in Iranian music, it is better to use the word "piece" instead of the work, which is part of a coherent whole. This piece of music, which lives in the world of the emergence of Iranian classical music, has a fluid identity that always continues to live with the performance and interpretation of an experienced performer who is familiar with the tradition and application of Iranian music. Also, the need for moral responsibility of Iranian music artists in the face of and in dialogue with the "other" is an important issue in Benson's theory and it is important to expand it in Iranian classical music.

In this research, it has been tried to examine Iran's screenplays in the 80s by focusing on carnival elements derived from the concept of carnival, which is one of the most important concepts in the opinion of the Russian thinker, Mikhail Bakhtin.The nature of Bakhtin's carnival is a critical approach to the existing conditions of society, which is formed in the context of the confrontation between official and unofficial culture. Popular culture creates an equal social position so that a dialogue can be formed without the dominant voice. In the shadow of free speech and listening, polyphony is manifested based on Grotesque characteristics and laughter that is flowing in the heart of the society. The characteristics that make a text carnival include polyphonic discourse, Grotesque realism, laughter, freedom, equality, inversion, relativity and opposite concepts, disobedience to the ruling power, play, mask, madness, banquet and death. By studying how these components function in the three main elements of character, action and screenplay structure, the present research tries to understand the concept of carnival and its components, and get a new understanding of the use of this concept in dramatic literature, especially the scripts of the aforementioned decade.This research was carried out in a descriptive-analytical way with the aim of understanding the concept of Bakhtin's carnival and its appearance in Iran's screenplays in the 80s in a selection of works of this decade with titles such as Bread, Love and Motor-thousand, Game Rules and Twenty. The findings show that the function of carnival components in writing screenplays, according to the critical situation in the cultural and social context of the early to late eighties, based on the political atmosphere of each period, underwent changes and developments of that year. Therefore, what can be seen in the selected texts is the influence of the characteristics of carnival in the general atmosphere of the works, which according to the period of writing of that work, the aspects of some carnival components are dominated by carnival compared to other components. Its values fluctuate. Since the field of art is a suitable place for the growth of society, it is understood that by combining art and the theory of carnival in order to criticize and express the cultural and social issues and problems of the society, it is possible to create works to advance constructive goals in society.

In this study, in order to achieve another definition of the hero, first the concept of the tragic and tragic hero is described in contrast to the Trauershpiel hero, then three plays The Death of Yazdgerd by Bahram Beizaei, Sleep in an Empty Cup by Naqme Samini, and Qalandarkhone by Iraj Saqiri are analyzed based on the concept of Trauershpiel hero from Walter Benjamin's point of view. In Benjamin's interpretation of Trauershpiel, there are three heroes (tyrannical ruler, conspirator, and martyr) who are like the three vertices of a triangle. A tyrannical ruler is a symbol of a powerful person in history who is unable to make decisions. The character of the conspirator is a symbol of power and politics that leads the martyr to death with conspiracy.The research method is in the form of data collection and through a library study, which examines the concept of the hero of Trauershpiel in the three mentioned plays with a descriptive and analytical method. The analysis of The Death of Yazdgerd shows that the character of the despotic ruler sometimes complements the face of the conspirator and sometimes the upside-down face of the martyr, and also due to the narrative nature of the drama, the character of the conspirator is implied. The analysis of the drama Sleep in an Empty Cup indicates that the characters of the conspirator, the tyrannical ruler and the martyr are in repetition and rotation compared to the three objective characters of the present time and the three mental characters of the past time. The analysis of the Qalandarkhone demonstrates that due to the linearity of the dramatic narrative, the three Trauershpiel characters are not complementary and opposite to each other, and they do not cross the three vertices of a triangle. As a result, the characters of the two The Death of Yazdgerd and Sleep in an Empty Cup are the most compatible with the hero component of Trauershpiel play, because in addition to the alignment of the historical narrative with the dramatic text, the characters through the representation of the role, the repetition of the character, and the rotation of time from the past to the present, cross the three vertices of one triangle and the only difference is in the way the three vertices of a triangle are traversed by the play’s characters. Based on the study done, it is possible to find another hero for writing dramatic texts because the three heroes of Trauershpiel reflect the rulers on the stage and depict the powerlessness of the government and the power of the conspirators.

The narrative-therapy approach was first proposed by Michael White and David Epston. This approach focuses on treatment through the narratives of people's lives and considers their problems as dominant in the way they look at narratives and cultural discourse, and emphasizes that "one is not a problem but a problem is a problem”. Narrative therapy is a six-step process that includes: problem-solving, problem-naming, externalization, cultural discourse, connecting single consequences, and alternative narrative. The Irish playwright Brian Friel often focuses on the influence of society and the dominant cultural discourse of people's lives. Based on his experiences, Friel has used being a teacher and a priest and has created narrative works in his plays using a narrative-centered perspective. The commonalities between the theories of narrative-therapy and Friel's plays are examined in this research, and reveal the process and elements of narrative-therapy such as narrative expression of problems, cultural discourse and the use of language.The present study points to the narrative and validity of the narrative and then introduces the theory of narratives. Molly Sweeney and Healing are examined from the perspective of narrative therapy. By examining the stages of narrative therapy in these two plays, this research then expresses that there are no problems in the lives of people, and whatever the problem is described is the false narrative of people, whose narrations can overcome the problem. The mind understands the experiences of people through narrations. Traditions are an integral part of people's lives, the problems are our experience of false traditions, and narrative therapy is a new method for treating and ignoring people's problems. Problems and whatever the norm is introduced is all the product of society and the identity of individuals is meaningful and shaped through communication with others. Moreover, narratives are divided into two general categories namely “diegetic” or “diegesis”, and “mimetic” or “mimesis”. However, in a different classification, narratives are narrated in a first or third-person style. Typically, the diegetic texts narrate the story from the first-person’s point of view and in a soliloquy manner pertaining to the personal experiences of individual. This is the style with which the two of Friel’s plays are written and it is the style analyzed in this research. Reading this approach, the reader realizes that, narrative is a scheme by means of which human beings give meaning to their experience of temporality and personal actions. It is the primary scheme by means of which human existence is rendered meaningful. Here, diegetic plays are studied with a narrative approach and with narrative therapy regard. A detailed assessment is performed in this research on Friel’s narrative plays by taking a closer look at narrative therapy process and using a descriptive-analytical approach.

In this study, to achieve another definition of tragedy, the concept of trauerspiel is read by Walter Benjamin. trauerspiel means a show of sadness with a tragic ending, a german idiom chosen for baroque dramas. unlike greek tragedy, trauerspiel dramas do not speak of myths and god-like human beings, but focus on historical-political themes and events. Walter Benjamin classifies the elements of trauerspiel in the six categories of the link of time past and present, the representation of the inner plot, the designed action, the tragic hero, objects and destiny, the depiction of violence.The research method is data collection through library study and with a descriptive-analytical method examines the components of trauerspiel in two Plays "death of yazdgerd" by Bahram Beizai and "sleep in an empty cup" by Naghmeh Samini. these two works have been written in two different time periods and in addition to reflecting the historical narrative in their work, they have a conspiracy of the characters, the intersection of the past moments with the present and the repetition of history in the inner plot. in a way, these two effects are most conformity with trauerspiel components.Another reading of tragedy can be found in the studies that have taken place, because trauerspiel is intertwined with history and reflects human suffering, and as long as the powerful and the rulers dominate the world, trauerspiel drames can to yourself life continue.

In the series of narratological studies, Marie-Laure Ryan has presented a more comprehensive categorization. She described four categories of narrative space, the spatial extension of the text, the space that serves as container for the text and the spatial form of the text for the study of space in narrative. Applying Ryan’s terminology, the present paper has adopted a descriptive-analytical approach to study Ryan’s categorization of space in Radi’s plays. The study of spatial frames and their relations to setting and story space in the selected corpus of Radi’s works indicates a particular type of continuity between the spatial frame and the off-frame space in such a way that his spatial frame does not separate the stage from its surrounding world; quite the contrary, it frames a part of the narrative universe. The characters, objects, dialogues, voices, and visual signs constantly put the visible spatial frame in interaction or in contrast with invisible narrative world. The frame of the stage that often acts as a fence against its surrounding world breaks down by the end of the play to let the chaos of the narrative world penetrate into the stage frame.

The concept of diegesis (telling or recounting a story) originally appeared in Plato’s thesis as opposed to mimesis (showing or enacting a story). In the current era, the notions of diegesis and mimesis, developed as key elements for differentiating verbal narratives from drama, have been reconsidered by narratologists who argue that in a play, an actor presents the sequence of events that is generally mediated through a given narrator in a fiction. In Stage Fright: Modernism, Anti Theatricality, and Drama (2002), Marin Puchner coined the term “digetic theatre”. Digetic theatre focuses on a type of theatre that uses narrative and discourse techniques to deviate the audience’s attention from actors’ performance to words. Puchner uses this term to illustrate descriptive and narrative solutions that have played notable roles in confining, leading, and neutralizing direct theatricality of stage and actors in modern drama. In Iranian drama Beyzai, Influenced by his knowledge of Ta’ziyeh, tried to reshape local plays and turn them into stage drama for which he benefitted from Persian storytelling traditions. His main concern was to establish Persian drama on the local traditions. Starting his theatrical activities, he attempted to maintain the fine literature of epic poetry by relying on poetic and elevated discourse. The present study explores the process of diegetic language as the pivotal discourse of Naghali and Ta’ziyeh’s turning into the Beyzai’s works. The diegetic and story features of his works will be analyzed by elements such as narrative intermediators, character, action, and setting and their evolution. This study exemines that Beyzai’s early works, it means Se Barkhani (Three Recounting), have story and diegetic nature by following elements such as narrative intermediator, character, action, and place/space. With these features, these works cannot rightly be considered to be plays, and the title the writer himself has chosen for his works as “Barkhani” (recounting) is obviously an indicator of this nature. On the one hand, these works reflect the rhythm and richness of the epic poetry in the form of prose, and on the other hand they represent the storytelling of the oral tradition of Naghghali in written form as drama. In Soltan Maar (Serpant the King), he returns to a story atmosphere in which time and place/space easily change, characters change their roles, and whenever actors find it difficult to perform an action they simply present it to the audience in words. Finally, Khaterat-e Honarpishe-ye Naghsh-e Dovvom (Memoirs of the Actor in a Supporting Role) can be classified under “digetic theatre”. Mimesis and imitation are not neglected in these works, and action, sound, and image are not marginalized from the text for the sake of dialogue- as it is with closet drama. On the contrary, this play is good example that indicates the presence of all the visual and mimetic elements in digetic form. In other words, in the battle between imitating and telling, telling is dominant.

This Research paper aims to explore narrative functions of the objects in the selected plays of Akbar Radi, the famous Iranian playwright, during 1980s. Describing narrative as the sequence of incidents, and accordingly a sort of emphasizing on temporality, the significance of space is frequently neglected in narratological studies. Narrative space yet is remarkably portrayed in drama in such way that the necessity of constituting a drama is mapping a certain and concrete place. Following the tradition of storytelling and minstrelsy, developing space in Iranian vernacular drama often has a verbal and non-pictorial form. Akbar Radi, however, depicts a pictorial, exact and objective space in his plays, and conducts dramatic elements such as character, action or setting in a strong connection with space. In his works, performer's body is totally interconnected to spatial positions or its surrounded objects; and even the emotion of character is personified by means of spatial components. This research first examines the Space in narratology, then it develops this description into drama studies and finally it will try to examine the roles of objects in the selected plays of Akbar Radi.

The concept of Diegesis (telling or recounting a story) originally appeared in Plato's thesis as opposed to Mimesis (showing or enacting a story). Plato described Diegesis as the third person style of expressing a fiction mediated by an author/narrator, whereas he proposed Mimesis as the first person style of presenting a story by means of characters and actions. Aristotle then applied Mimesis for the craft of writing plays and developed the notion to study dramatic and epic arts. In the current era, the notion of Diegesis and Mimesis has been reconsidered in the field of Narratology, and developed as the key elements for making difference between verbal narratives and drama, arguing that the sequence of events is generally mediated through a given narrator in a fiction, while it is presented in a play by an actor. Using historical documents and applying an analytical-descriptive method, the development of Iranian indigenous performance from traditional styles of story-telling would be discussed in this paper. By this way, the process of transferring narrative strategies into dramatic language and the connections between “Diegesis and Mimesis in Iranian plays will be traced. In the origins of Iranian performance, however, Diegesis and Mimesis, regardless of today's disagreements, are intertwined as such that the Rhapsodist (Naghal) functions as a narrator-actor who recounts the event from a third person view, at the same time that he attempts to perform his dramatic role from a first person view. In Taziyeh, which many historians argue that it is inspired by Rhapsody (Naghali) and might be taken as the oldest type of traditional performance in Iran, performative elements are in alignment with narrative elements in such a way that they would be no longer accounted for an absolute narration, or an absolute imitation. The main features of Diegesis in Taziyeh and Naghali could be explained in the style of developing dramatic elements such as character, dialogue, time and place. Although character has bodily and lively presence in Taziyeh, it is needed more to narrate the role than to represent it. The world of Taziyeh is often more composed of verbal elements rather performative or dramatic ones; Instead of being represented, the place is simply described. The time, like a narrative fiction, is also encompassed a wide range of temporality. With the respect to rich tradition of storytelling in Iranian history, Taziyeh gradually could turn the style of narrating a story from a literary form into a dramatic one. Narrative techniques such as the play within the play, asides, parabasis, metalepsis, direct audience address, verbal summaries of offstage action, embedded narratives and metanarrative comments had fortune to enter into Taziyeh and being steadily combined with its mimetic language. In conclusion, the subject of “Diegesis and Mimesis” in narratology will be reconsidered to prove that both terms are not simply descriptions for separating drama from narrative, but in fact, those are the unique natural features of both of them.

Unnatural narrative entered the field of narratological studies since the early years of the current century, being theorized and classified by narratologists like Jan Alber and Brian Richardson. Unnatural narratology, unlike natural narratology, focuses on non-realistic and anti-mimetic narrative elements and attempts to provide a more comprehensive pattern for the study of those narratives that do not obey the arbitrary patterns of representation. In other words, they do not recreate the world as it is perceived on the basis of common sense experience. Since the 1380s, Persian playwrights have indicated a growing interest in the reflection of unnatural elements in their works. They represent elements such as time, space, character, and narrator differently from real-world experience and in the structure of their narrative they present what is physically and/or logically impossible. The present study is a descriptive-analytical exploration of the strategies used by Persian well known playwrights like Samini, Charmshir, and Amjad in the 1380s to transgress the realistic borders and to represent mental territories. These strategies challenge the readers’ expectations of the familiarized structure of the world and provide them with different ways of experiencing it by applying fundamental changes to the narrative elements of the work. Referring to Alber’s theories, the paper provides recommendations for reading these texts to indicate how readers attempt to understand such scenarios and expand their mental architecture to naturalize them.

This paper aims to explain the role of Absurd Theatre, as an innovative form of dramatic composition in the first half of the 20th century, in evolving novels and literary traditions after 1960s. The main problem of this research is finding some reliable limits of mutual impacts by which it could be possibly said that Absurd Theatre and New Novels had many interchangeable effects through the time. The key question is how Absurd devices have had an impact on the style of novel writing, if it could be claimed that this type of theatre had emerged at the period of a historical passage into Postmodernism from Modernism. Inspired by an evolutional structuralism method, this study intends to describe the key factors of mutual stylistic interactions between Nouveau Novels and Absurd Drama. To this purpose, a statistical population of recognized writers and dramatists has been selected to realize a comparative reading of their features. Focusing on some masterpieces of Samuel Beckett and Marguerite Duras’ novels, the comparison confirms how these movements influenced on each other and how it would be possibly rearranged and re-interpreted today. The features such as Deviation of Norms and Styles, Humanism as well as Scientism are among the most important criteria that prove the main hypothesis of the research. They are basically literary devices or approaches which have transferred to theatre and performance. The paper first reviews the historical evolution of Modern Literature and shows how modern style of telling stories influenced on some other types of artistic forms. It explains that Absurd Drama was significantly inspired by modern approaches of European literary criticism. The “Estrangement effect” of Epic Theatre and “Defamiliarization” of Formalist poetics are two of the main reasons of emerging Absurd techniques during 1930s. The research summarizes then the key features of Modern Novels at a tentative table and presents some operational descriptions for subsequent assessment. It will finally prove that the literary focus on Body and Movement, Claustrophobical arrangement of fictional scenes, and Performative aspects of language are all made under influence of Absurd devices. In effect, it could be said that Absurd drama developed literary language of New Novels in terms of performability and theatricality.

This paper studies the concept of metafiction in Charmshir’s play Dastan-e door vaderaz-e safar-e sultan … be diyar-e farang (1998). Metafiction, as a result of an analytical perspective emerged first in modern novels, attempts to challenge the conventional frame of fictional reference to the reality of the external world as it is suggested in literary Realism. In this type of stories, narrative elements such as plot, character, time, and place are no longer representatives of imagined reality, but they in fact reflect a perpetual conflict between art and reality. However, it can be suggested that reality here is subordinated by the referents of the external world. Linguistically, metalanguage and poetic functions of drama would dominate its object language. The story then will be directed toward its narrative elements as well as its own process of creation. Adaptation and meta-historiographyare some of the other features of this style of writing stories which is associated with parody and irony. Charmshir’s play is not really a narrative of the king’s long journey to Europe;rather it is a challenge for the playwright to realize a metafictional probability in form of a postmodern drama. This play is an artwork about the process of building an alternative story and is a new exploration on narrative facts.The elements such as characters, structure, plot, the authority of the narrator, and the style of narrative are no longer the hidden parts of drama in the representation of the story and meaning;in fact, they are the story in itself. The foregrounding of language here is an ironic reference to literary and dramatic texts while it is a fictional device for fabricating history and manipulating data by which the reader expects to receive narrative information. This studyunravels new aspects of narrative structure in Iraniandrama using an analytic-descriptive approach.