theater

Theater is a process that helps participants in the process of purposeful communication to recreate social and psychological issues in a real context, not just talk about them. On the other hand, happiness includes different physical and mental states of human beings, which leads to a feeling of satisfaction and more energy in the audience. The present research aimed to investigate the relationship between watching theater and social vitality among the citizens of Yazd city was carried out by a descriptive method of correlation type. To determine the sample size, Krejcie and Morgan’s table with an unlimited approach was used, and according to the statistics presented in this table, the sample size for the unlimited population is considered to be 384 people. The sampling method in this study was cluster sampling. To collect data, the 29-question Oxford Happiness Questionnaire (2002) and the 14-question theater viewing questionnaire by Karim-Vand and Ahmadi (2015) were used. The content validity of the questionnaires was confirmed by the supervisor and 10 subject matter experts, and the face validity of the questionnaire was confirmed by several members of the statistical community. The reliability of the questionnaires was calculated using Cronbach’s alpha for the happiness questionnaire of 0.899 and the theater viewing questionnaire of 0.838. The results of the research showed that there is a difference between watching theater with social vitality among the citizens of Yazd city (r=0.742), between liveness of theater and social vitality (r=0.693), between honesty and lack of censorship in theater with social vitality (r=0.656), between the unique features of theater with social vitality (r=0.709), between the specificity of the audience of theater with social vitality (r=0.472) and between the motivation and need for theater with social vitality (r=0.368), Genre and content of theater (r=0.556), visual elements (r=0.467) and non-visual elements (r=0.682) is significant at the significance level of 0.05. The results of the research showed the correlation coefficient between watching theater with (components of liveness of theater, honesty and non-censorship of theater, unique characteristics of theater, specificity of audience, motivation and need for theater) with social vitality based on (components of life satisfaction, contentment, self-respect, positive mood, positive energy) there is a positive and meaningful relationship.

A significant portion of an actor’s impact on the audience is conveyed through facial expressions. By observing the actor’s face, the audience perceives the emotions, desires, and intentions of the character. Makeup plays a crucial role in enhancing the quality of this emotional transmission and strengthens the non-verbal interactions between the audience and the performance. This study aims to describe, analyze, and interpret the metalinguistic elements involved in the art of makeup. It examines how makeup techniques and symbolic effects of colors work in face painting and character creation in theater. Additionally, it analyzes the characteristics of makeup and the psychology of colors in character development while interpreting the outcomes of these applications. The hypothesis of this applied-qualitative research is that makeup and the symbolic effects of colors, as one of the performance elements (alongside with lighting, staging, sound, and costumes), have a direct impact on the expression and transmission of theatrical concepts. Face painting has undergone significant changes with the emergence of various artistic schools in performing arts and today it focuses on creating and developing characters by utilizing color psychology.The findings reveal that makeup enhances the visual impact of theatrical performances on the audience while materializing the director’s creative vision in a tangible form. By utilizing the diverse possibilities that makeup offers; the transmission of emotions, desires, and moral or behavioral traits of the character will be facilitated. Moreover, makeup plays a pivotal role in increasing the believability of characters for the audience and maintaining their engagement with the performance. Over time, makeup has seen significant advancements and innovations. This achievement has made possible through the creativity of the makeup artist, who employs symbolic color schemes and facial modifications to amplify the actor’s impact on the audience.

 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. 

Considering emerging new needs and transformation in business relations, this study aims to consciously develop the theater to neighboring and co-beneficial countries using cyberspace to introduce a new market titled “Theater trade with the Commonwealth of Independent States using the capability of cyberspace”. This descriptive research has applied the strategy analysis (SWOT) and targeted sampling method with a sample size of 40 experts to examine the internal and the external environment. Also, the validation of the research tool (questionnaire) was done through Cronbach’s alpha in the software environment (SPSS) and the importance and intensity (priority) of the items were determined based on the 5-level Likert continuum and the 4-level spectrum. The findings show that the averages obtained from internal factors including the effectiveness of invention and innovation, the weakness of taking advantage of the experiences of successful marketing models, the state-owned theatres, the weakness of audience cultivation for theater and external factors including the impact of media literacy on theater, the necessity of attractive advertising designs in mobile social networks, the unfamiliarity of managers and theater groups with online and network markets are some of the challenges of interest. The results obtained from the output of the matrices based on the description and analysis of the findings also includes focusing on strengths and opportunities as a desirable strategy and reducing weaknesses and threats with the approach of developing common theater markets through cyberspace (in addition to the current methods of presenting theater).

Theater needs a special mechanism to be implemented and staged. Although the theater has an artistic and aesthetic nature in its entirety, each of the steps required to reach the performance requires comprehensive management. In the past few decades, scientific topics centered on management have expanded a lot, and as a result, it has acquired wide approaches and diverse sub-fields, one of which is "project management". If the meaning of the project can be adapted to the process of theater production and performance, the science of project management can be a strong arm alongside performers, companies and theater groups and play an important role in economic, executive and consequently It will achieve the desired result. Sometimes the variety of groups and agents involved in theater performance is wide and numerous, and each of them in turn can have special expertise or lack of expertise. And the necessity of examining the methods of coordination and organization related to the activities of these agents and groups in the time frame and with specific and accessible resources that usually have limitations. The present article tries to establish a meaningful relationship between theater and the project, while discovering the capabilities of project management knowledge to help the process of theater production and execution. The author's goal is not to degrade an artwork to industry, but it is assumed that the management and control of an executive process can add to its elevation.

The main aim of this paper is to compare the jurisprudence studies on ta'ziyeh with theater and film. The result of this comparison reveals the importance of this research in assisting in formulating the jurisprudence studies on theater and cinema, as well as completing the jurisprudence studies on ta'ziyeh, which has its main origin in the respect and promotion of the culture of love for Ahl al-Bayt. In this respect, I first present the statement of the problem, followed by a subject analysis of ta'ziyeh and its background, and then provide a brief subject analysis of film and theater. The results indicate the characteristics and general principles of the arts of Ta'zieh, theater, and film, which serves as a basis for comparing the subject matter of Ta'zieh with theater and film.In the second section, I discuss some fundamentals of the jurisprudence studies on art that are used in the jurisprudential comparison of Ta'ziyeh with theater and film.In the third section, I compare the subjects according to the aforementioned bases. Finally, I show the results and the related topics derived from the comparative jurisprudential analysis. Moreover, I compare my desirable perspective, which is an interactive and professional approach on the issue, with the desirable perspective discussed in Imamite jurisprudence about ta'zieh on one hand, and film and theater on the other hand.

The goal of this research is to provide a model for theater audience consumption experience through a qualitative and practical approach with ethnographic methodology. The target community of this research includes all theater audiences in Tehran and sampling has been done with judgmental and snowball sampling methods. After carefully investigating literature and background of research 20 theater audiences were chosen who go to theater at least 5 times in a year. “The City Theater” and “Iranshahr Theater” complexes were selected as the research field because of their reputation and rich history. Participants watched nine performances during the time of research. Data has been gathered by Ethnographic data gathering methods including Narrative Inquiry, Participatory Observation and Deep Semi-structured Interviews. Consumption experience was analyzed in 3 stages: pre-consumption, core- consumption and post-consumption experiences and the whole experience as a conclusion. The analysis has been done with thematic analysis by NVivo.12 software. In coding phase, first 256 open codes were found. After code refinement 131 codes were left which were converted into three main abstract headings: affections, cognitions and behaviors. At a higher level of abstraction, these codes constituted the behavior of theater consumer regarding motivations for going to theater, factors affecting theater selection and pre, core and post experiences. The results show that “perceiving meaning” is the most influential motivation for going to theater, followed by theater’s closeness to daily life and a sense of belonging to theater audience’s community. The most important factor for selecting a performance is it’s the theater hall followed by friend’s recommendation. The model shows that going to theater is like a ritual which audiences respect in their theater consumotion journey. In each step, pre, core and post consumption experience, audience sees him/herself in a ceremonial event which has its own rules like wearing artistic clothes, selecting friends, going to café, etc. before the theater. At the core consumption stage, the ritual demands that audiances respect the performance by maintaining silence, interacting with other audiences and artists and in post-consumption stage the ritual continues by talking to others, and collecting brochures and photos to remember the event later on. Meantime, motivations and selection factors affect the theater consumption experience entirely. This model provides deep understanding of theater consumer behavior and helps theater organizations and marketing experts in optimizing theater consumption experiences.

In recent economic years, the category of "art economy" has a special and cultural place in studies that hold that economy and art can coexist and that art economy considers art with economic results. This research aimed to study the development of art economics (with an emphasis on performing arts) through a descriptive-analytical and library method. The findings show that, in today's highly competitive cultural world, arts can maintain and develop their survival, and have positive effects and are profitable, though they face many challenges. The most important challenges facing the economy of art were identified to be (a) fanatical idealistic view of art and artist in culture and society and architect from managing the economy in the field of art, (b) government intervention in the economy of art, (c) concern about the instrumentalist view of art, and (d) material valuation of works of art. Moreover, concerning the specific factors that affect the development of the economy of art, especially in the theater, the findings show that these factors have an effect on the economy of art including: Special attention to artistic products (primary material), attention to production costs, attention to the distribution and type of audience, attracting private investment, and attention to the presence of the government.

The meaning of the myth expresses different parts. In other words, symbols and signs have made beliefs and rituals believable among different ethnic groups in different eras. Mythical symbols appear in the form of stories, art, and culture in social life, and express psychological views in societyFor society. For Gilbert Doran, myth is a dynamic system of symbols, archetypes, and a system that seeks to stimulate narrative through archetypes and symbols by stimulating stimuli. Theater as an important medium; demonstrates the power of myth-making with tools such as the role and actions of actors, costumes, and makeup. In this research, King Lear Theater, performed at the National Theater in London in 2018, is analyzed with the mythological approach of the time. Inspired by the mythology of Gilbert Doran, this article examines and analyzes the character of Shakespeare’s King Lear. The purpose of choosing this play is due to the presence of a character named King Lear who has a special myth and archetype and how he communicates and interacts with those around him during the process of the play. The purpose of this study is to find the answer to the question; of what are the symbolic elements in the creation of the character of King Lear, and how can a significant relationship with the theme of the play be established through mythology? This study is a descriptive-analytical method, and library sources and also theatre performances are also used. The results show that through three stages of Gilbert Doran’s mythology, (symbolism, psychometrics, and mythology), symbolic, psychological, and mythological elements in the character of King Lear can be discovered, and this which creates a connection and with the audience. They become s more understanding with the character of the king. According to the three stages in the mythical critique of Gilbert Doran, in the symbolism section, the symbols and signs of clothing in King Lear’s character were analyzed as three symbols of power, fight, and madman, which are the three stages of King Lear’s personality in the play.

The purpose of this article “Searching for identity from Sartre’s point of view in the play The Buried Child” is to gain a new understanding of the characters and their world with an analytical look at Sam Shepard’s play based on Sartre’s philosophy. Among Sam Shepard’s plays, The Buried Child deals more with the issue of searching for identity. The conflict of characters, conflict and disagreement between family members and its effects on the society with a focus on the contemporary American man in this play are quite evident. The characters portrayed by Shepard in his plays are almost all chosen from the same gender. And in various works, the amount of their psychological problems and conflicts and physical diseases has increased or decreased. But in the play The Buried Child, we see that the characters are exposed to the audience completely alone and without creating a real relationship with each other and the society, naked and far from each other. For this reason, this article first looks at Sam Shepard’s theater and deals with the relationship between his works and the philosophy of existentialism. In the following, he presents the dramatic narration and analysis of the said work. Then, by examining the issue of searching for identity in the work, the impact of Sartre’s thought on the process of forming actions and the progress of Shepard’s drama is discussed. The main question of the article is, what role does the search for identity play in the creation of the mentioned work? According to this issue, the hypothesis of the influence of character in the design of dramas and its key role in the performance of this work is determined. The result of this research shows the impact of Sartre’s thought that man is condemned to freedom, as well as the moral principles of his philosophy, such as self-alienation and living in wrong intentions, in the characterization of Sam Shepard’s play The Buried Child. Because the search for identity in Sartre’s original thought in Shepard’s works can be recovered in the form of parallelism and the combination of freedom and rebellion alongside each other. This article is written in a descriptive and analytical way, and the methods of collecting and classifying information are done using library studies.

The purpose of this research is to investigate the effect of classroom theater on increasing creativity and learning in Persian lessons in elementary school, which was done descriptively and with a qualitative approach. The research was done with documentary method. In this research, an attempt was made to analyze the effects of classroom theater by studying first and second hand sources. Studies show that theater plays a strategic role in strengthening students' various skills in academic education. One of the shortest ways to achieve these behaviors is to engage in dramatic activities. The educational topics of textbooks can be taught through theater because it can convey and understand the components of participation, collective activity, responsibility, recognition of one's rights, respect for the rights of others, and the teaching of religious and practical matters of life.

In this article, while focusing on the three areas of theater as the ancient mass media, the marketing concepts and the capability of modern social networks, the researchers have studied the “theater marketing strategies using the capabilities of social networks in Tehran.”. The phenomenon of theater enjoys a public and communicative identity. Changing lifestyles, births, needs, and fundamental transformations in business relationship demonstrate the conscious institutionalization of theater, taking advantage of the vast capacity of group networks and the acceptable power of the performing arts, to achieve the desired model in the field of modern marketing. Accordingly, the main questions of this research are the following questions: What are the components of the marketing model for theater due to social networks? What is the current state of the theater and its markets? What are its strengths and weaknesses? And what are the opportunities and threats to this potential market? This research is based on the method of strategic analysis, elite or SWOT (SWOT), knowledge of internal and external points, purposeful sampling method, and the sample size of 40 experts, by validating the research tool (questionnaire) through Cronbach’s alpha in the environment. Software (SPSS) has been reviewed. Also, according to the typology of the surrounding environment and drawing the current and desired situation, from the distance technique; SPACE evaluates the situation and selects the optimal strategies. Findings show that the preferred model that is recommended by using social networking capabilities for theater marketing is a model based on SO strategies or offensive strategies to be able to take advantage of internal strengths and opportunities. Foreign events have achieved maximum success in the market.

Alchemymical “Characterization” and “personality” are the cornerstones of drama; many apply in both playwriting and play criticism and analysis. Especially in game genres that deal with deeper concepts of the characters’ personality aspects. Studies of the status of “personality” from both the theatrical and psychological perspectives lead to a better understanding of the executive factors as well as the theoretical domains of dramatic works. By recognizing the mental-physical characteristics of the characters such as interest, hatred, physical and sensory tics, as well as their thoughts and behaviors, brilliant results were obtained that will strengthen the performance and analysis of the games. Schools and styles such as Jerzy Grotowski’s “Silent Theatre”, Meyer Hold’s “Biomechanical Theatre” and Eugene Barba’s practice unleash the abilities of the human body as it tries to make sense of and harness knowledge of anatomy, the respiratory system, and even sports such as yoga. Recognition of human personality is not limited to the use of acting power and includes areas such as playwriting and play analysis. This research tries to use the knowledge of “temperament” as a branch of traditional or ancient medicine and to present a new method to the research subject. The provision of patterns for the classification of dramatic characters has provided a temperamental capability that can be used as a method in a variety of fields, including the characterization of dramatic works. This research was carried out with the descriptive-analytical method and the play of Martin McDonagh’s The Beauty queen of Leenane nin was used as the study sample of this research.

Pedagogical theater with a continuous process and with an emphasis on the simple learning of various concepts and lessons assists to grow and thus enhance individual and group behavior in society. The process of performing the exercises encourages the talent and creativity of the participants in learning and ensures their active participation. This study aims to establish a link between the ideas of Harry Broudy and the pedagogical methods proposed from his perspective, describing the process of teaching and learning through art. In this study, the connection between the aesthetic aspects from Broudy’s perspective and the related components and the educational process through pedagogical theater is investigated. Broudy proposes three approaches, including performance, artistic perception, and perception in aesthetics, to prove that the perception approach is far more effective in aesthetic education. The results indicate that the teaching and learning process should first be accompanied by strengthening aesthetic education, which is one of the best methods in this field, namely the use of pedagogical theater.  Since it fills the learning path with fascination and excitement, and the process of rehearsal and the impact of this type of theater on the participants are remarkable. At the same time, it can contribute a lot to have the fascination, ease and creativity in learning all kinds of topics.

In 2017, in the city of Tehran, 107 theaters with a total capacity of 26,568 seats have been performing continuously, most of which have been opened by the municipality of Tehran, the government and the private sector or by these three the department is managed. In each of these three institutions, there are potentials and shortcomings in the building and management of theaters. This research, has been written in a descriptive-analytical method using libraries and Internet resources. The main question in this research is how active the government, the municipality of Tehran and the private sector have been in building theaters in Tehran from 1978 to 2017? The main hypothesis in this article is that the passive policies of the government and the municipality of Tehran in the field of building artistic theater halls are in clear contradiction with the support of the private sector and the audience’s acceptance of this type of theater. For this purpose, first the information of Tehran active theater halls in 2017, including the year of establishment, capacity, managing institution and type of executive works have been collected and categorized. In the first stage of the analysis, the number of active theater seats per year in Tehran between 1978 and 2017 has been calculated and the trend of changes in comparison with the population of Tehran in these years has been examined, Then, the contribution of each of these three institutions in increasing or decreasing the number of theater seats in these years has been determined. In the second stage of the analysis, we have dealt with the issue of how many of the constructed theaters have been dedicated to the performance of art theaters, and we have identified the gaps in the activities of each of these three sections. The article concludes that none of the few theaters that the government has opened in recent years have entered the art theater market. Despite its effective activity in the field of theater construction, Tehran Municipality has been incapable of constructing artistic theater halls, and after 2012, with the entry of the private sector into the field of hall construction, the number of Art theater halls and chairs in Tehran have increased significantly in a short period of time.

The Safavid dynasty (1501-1722) is associated with some of the most exquisite works of miniature ever produced in Iran. In terms of significant political and social events, this era can be considered as a turning point in the history of Persian art. One of the considerable events that occurred during this period was the expansion of relations with Europe, the reflection of which might be found in paintings. Moreover, the unsteady royal patronage of miniature painting, especially in the second century of Safavid rule, resulted in the emergence of other patrons of art. The role of these new patrons, who were mostly merchants, professionals and officials, altered the types and content of Safavid miniature paintings. The artists produced single page paintings and drawings, which were not intended for inclusion in literary texts but were rather designed for exquisite albums. This new form of miniature was created most often under the direction of a painter or calligrapher. They grouped together calligraphy, miniatures, drawings, and also ancient works of art. The increased attention to the single page and album making is one of the characteristics of later Safavid art. It was in this context that new subject matters like theater and popular entertainments were chosen by the painters. This paper, which studies theater and popular entertainments in the Safavid period in two groups of religious and non-religious, tries to answer the question of their representation in paintings and drawings. Of the religious types of drama only several examples of dancing dervishes can be mentioned. Among the non-religious examples, attacking animals and other kinds of playing with animals are most often illustrated. The significance of this type of popular entertainment is revealed from the fact that the most famous painters of the later Safavid period like Riza Abbasi (d. 1635), Mu‘in-i Musavvir (d. 1693) and Muhammad Ali have depicted such themes. Whereas most of the talented painters worked for the royal courts, Riza Abbasi, the chief painter of the court of Shah Abbas I (r. 1587 - 1629), since around 1603 held a non-conformist attitude and depicted scenes of everyday life and popular entertainment. In this period of his life that Sheila Canby have referred to as the “rebellious” period, Riza veered away from his courtly life and employment, associating with dervishes, wrestlers, and musicians. One of the most talented followers of him, Mu‘in-i Musavvir, was as prolific a painter like his master. They have portrayed several cases of a monkey riding a lion or ram and also scenes depicting a monkey-trainer (or qarrad). By the beginning of the seventeenth century, several representations of dancers dressed in goat skins, some of which drawn by Muhammadi Heravi, had survived. Muhammad Ali, the well-known Isfahan painter of the mid-seventeenth century, has also depicted animals specially trained for circus performances. Of the other examples of non-religious drama, several miniatures in manuscripts and albums that depict scenes of royal clowns, dancing ceremonies, wrestling matches and playing polo, have survived. It seems that in spite of the fact that Safavid rulers were staunch supporters of Shiʿi Islam, none of the religious ceremonies like taʿzīa was illustrated during their rule. In fact, most types of drama in the Modern sense were formed outside of the royal courts and were not patronized by the Safavid rulers.

Art is an inseparable part of life which manifests in all aspects of human life. One of the most significant manifestations of art is decoration of parlors, circles and venues for various kinds of ceremonies. In general, these decorations are occasionally performed for ritual and religious ceremonies, sometimes for festivals and entertainments, and sometimes for funerals or mourning rites. According to the resources studied in this paper, the above mentioned decorations have already been used and people employed them in various ceremonies and other aspects of life. EIn fact, every part of the decoration had specific title, and its construction was related to particular professions and different masters. According to the existing evidences used in this article, in some of these parlors and ceremonies you could see manifestations of the performing arts which could be counted as scenic design; needless to say that its performance could be influenced by various issues such as time, place and social class. In fact, this included construction for decoration and design of the venue. One type of decoration being used in the past was the art of Nakhl –bandī done by the Nakhl -bands. They are made of wax, paper, fabric, mud, wood and all kinds of flowers, fruits and artificial trees with different colors and designs in order to beautifully decorate a place. To describe the words Nakhl -band and Nakhl -bandī in the verses where these exact terms have been used, some editors of the Davāvīn (poets collected lyrics) have briefly demonstrated them in the book margins and footnotes which we will mention in the article.  As for the terminology of this art, two groups have paid particular attention because these two words Nakhl -band and Nakhl -bandī (and other related terms) figured in verses and prose texts: the first group was lexicographers who explained the term because of its use in manuscripts, and the other, commentators and editors of poets who almost entirely gave a short and wrong description.We shall also remind that none of the studies conducted in Iran, focused on the scenic designs based on the history of performing art, music and other artistic performances have pointed to this issue as an example of stage design art. Although studies have been carried out independently on the issue of mourning and Nakhl -gardānī, as we see later, the issue of Nakhl-bandī and Nakhl –gardānī have been misinterpreted and have been considered as one. No independent research on the history of Nakhl -bandi has been conducted, especially in the field of scenic design in Iranian culture; in fact, Nakhl -bandī is considered as a forgotten art. Therefore, the main aim of this research is to clarify the dimensions of this old art and to answer literary, historical, and technical questions related to the profession of Nakhl-bandī and explain the differences between Nakhl-bandī and Nakhl –gardānī. This is a descriptive -analytical research and is based on the data extracted from the manuscripts and collected from libraries.

Creating a new theatre style was an important event in Iranian theater which occurred in the late Nasserian period coincided with the rise of the communism wave, which led to the beginning of the transformation of the Nasserian amusing theatre into European style theatre and the subsequent formation of the first private groups and theaters. This new structure quickly expanded independently along with financing itself, b) and after a while, it completely separated its path from all sorts of imitative theater, passion - play, and founded the roots of the first professional theaters in Iran between 1300 and 1332. But the flow of private theater in Iran could not continue for a long time, and that flow stopped after one or two decades. Several factors were effective on this halt: Establish strict rules, conflict between political parties and states, and lack of government support for private theaters at the time, and a tendency to create a theatrical flow that is consistent with government policies, in addition to hide the interregnums created. Therefore, this study was carried out aimed to address the following questions: What cultural currents were effective on the development of private theater ?How was the effect of political currents and parties on the development of private theater? What changes have been made in the process of private theater with the entry of sovereignty into the field of theater ?How did the political status of the government affect private theater activities ?And finally how were the effect of social and political factors on the process of stopping the private theater movement? The present study seeks evaluate the evolution of private theater in Iran from a historical perspective by considering the political and based on this method. The performances of the Anahita group exhibited such a new form of stage performances that had not existed in Iranian theater before. But their technical quality was quite mediocre .The final result of this research is that the Anahita group has trained great artists who each have had a significant impact on the Iranian theater .And ,until now, they have been able to prove and retain their brilliant and enduring names in Iran Dramatic Art history.

Each theater scene is an event occurring in a space ,and it is evident that space is not independent of the architecture and design of the scene. The concept of space ,as the container in which the events occur ,is experienced by the agent of the time and expresses a narrative .The factor of time for experiencing space is the reason for the hierarchy and narrative in architecture ,while it is formed in theater of space based on narration and play .There are many components in architecture that ,based on Norberg Schultz’s sense of place theory, can be combined to mise en scene to make athmospher and sense of location.This experience, in addition to the formation of spatial structure, enhances the sense of space and rhythm. The present research seeks to achieve how this function works to develop it during production and implementation. Therefore, the present research seeks to answer the following questions: How is the formation of space through the mise en scene of creation? How can the elements of narrative be transformed into sensory spaces using the mise en scene design?How to use Schultz’s sense of location in mise en scene space to define space? In order to explain the role of mise en scene in the creation of space, due to the rich conceptual and structural studies of the field of space architecture, the Norbert Schultz sense of place theory is used and to implement the architectural harmony pattern and mise en scene Arthur Miller’s Death of a Salesman choosed as a case study And is analyzed according to the Norbert Schultz sense of of place theory. Ultimately, this study, with the help of Schultz’s sense of of place theory, explores narrative-space transformation into theater using the mise en scene elements.