نشریه تئاتر
سال دوم شماره 63 (زمستان 1394)

This study applied the phenomenological approach and the analysis of "place" in a play "Gozaresh-e Khab" by Mohammad Rezaei Rad. With this approach as a theoretical framework to the test and evaluation of view, as not merely a theoretical and practical approach to the analysis of dramatic texts. To achieve this goal, the evaluation of the above-mentioned case studies based on the ideas of Gaston Bachelard in The Poetics of space. Methods to determine the selection of indicators and key fundamental Bachelard (location, space, space mining and the house reading) and then, at the same time they are being phenomenological analysis, the play. Based on this, researchers at an early stage, the main hypothesis of the study, to answer a key question about the application of the definitions and views of Bachelard in an unusual way "home reading" he -In the play-evaluation and then play with two the other question, the most important indicators and audit measures in this analytical approach, such as objects, borders, multiple world time and fluidity of study samples are analyzed. The results can be summarized thus: Bachelard's ideas and methods of analysis, expression and the use of the house and its accessories (including people and objects) by the author plays. Also, compatibility and consistency in narrative structure, markup and places of work, confirmed the imaginative ideas of Bachelard in the way of phenomenology and phenomenological approaches to testing and analysis also suggests the dramatic and narrative texts.

The question of ‘space’ is among the challenging issues in scenic design. Taking a new approach to the issue of space as well as structure of the performance, the Bauhaus theater provided new definitions in the 20th century. Through proposing his theory as well as his distinctive performance in the Triadic Ballett show, Oskar Schlemmer, a pioneer of the school, introduceda space which can be studied in its different aspects. It seems that identification of the ‘geometry of space’ in this performance can be inspiring for modern performances. Therefore, the present study aims to explore the way Schlemmer treated space through investigating threeaspects of the Triadic Ballett. Considering the importance and centrality of geometry of human bodyin the artist’s ideas, the ‘geometry of body and related shapes’ is the first aspect to study. Body, as the parent shape from which all shapes and forms in the outside world are born, is decomposable into various shapes and volumes. Moreover, there is an invisible space between body and the surrounding world, to which man is attached. The second aspect to be studied for the recognition of the space is the ‘motion of body’ or shapes that makes the image of this invisible space somewhat visible. The identity of volumes is determined by motion on different axes, emphasizing on the significance of man’s communication with his surroundings. Having a variety of motions, the Triadic Ballett is indicative of different aspects of the performer’s lines of communication with his environment. The third aspect of the geometry of space involves ‘scene and light’which creates visual diversity, and,having undergone some simple changes, is in consistence with the performance and its fundamental concepts. Scenic designis a part combined with other aspects of the performance and subtly narrates the performance message. The geometrical aspects of the performance can be studied through focusing on the mentioned items.

Directing the actor means to create a character via interaction between actor and director and to present it as believable to the audience and it's done by two common methods. First from inside to outside and second from outside to inside. The focus of most directors and acting teachers are the inside and outside life of the character with his/her whole paradoxes and inherent contrasts and the means to show these characteristics that actors are trained for it. All the actor training theories of the past hundred years are inspired by Stanislavsky's theories which are known as system. When system entered America it became an inspiration for Lee Strasberg, Stella Adler and Sanford Meisener, which consequently led to Method acting and made it the bible for teaching actors. In 50's and 70's these theoreticians claimed that they took their idea from Constantin Stanislavsky's system and that each has used different aspects of Constantin Stanislavsky's theory to show their own approach. This study shows similarities, differences and emphasizing points of these three theoreticians in the exercise of directing the actor from inside to outside and from outside to inside by contrastive analysis. The results show similarities in elements such as acceptable action, assumed conditions of the play, emphasis on actor's believable behavior and improvising on stimulus-response and the most important difference are the arguments about actor's originality and character's originality.

"Applied Theatre" is a kind of performances that to describe the methods and techniques of theatre performances in places outside of the normal Theater environment, for the impact on a wider segment of the audience, with the goal of social change or knowledge society. Of these "Environmental Theatre" and "Heritage Theatre" as the two main branches of the theatre, each follow different concepts and goals. «Environmental Theatre» is planned in an area of the location where the story is related to the show and in fact; and "Heritage Theatre" use Theatre and Theatrical techniques for transfer knowledge about the concepts of cultural heritage and the history of the past. In the present research, while reviews of "Applied Theatre" with the emphasis on the species listed in the above two executive-"Environmental Theatre" and "Heritage Theatre»-how to use this technique in the reconstruction of the position of war, operational areas, well pay up there that can be used visitors of the war zones not only as a spectator, but also participants in the particular situations of war processed and occurs more with reality in these areas will be familiar.

The confrontation and communication between cultural Self and Other is one of the most critical areas of study that has been broadly investigated in Cultural Semiotics during the past decades. As cultural semiotics illustrates, cultures are the repertoire of the texts which are closely interwoven. In other words, cultures are inter-textual and texts are unique sources to comprehend diverse aspects of a culture. As a result, the present essay studies one of the distinguished Iranian plays as a text within a culture to approach the ways that Iranian culture represents itself and cultural Other. To this end, we analyze the play ‘Battle of East and West’ (jang-e mashregh va Maghreb) by Gregor Yeghikian (1880-1951) written in 1923 that attempts to display East and West as binary oppositions through the wars of Persian and Greek empires. The present essay aims at examining the confrontation between East and West as the encounter of cultural Self and Other in the play, by applying the contributions of Juri Lotman in this respect. The essential question of this study is that how Western culture as the cultural Other is understood, defined and represented in the play ‘Battle of East and West’ as a text within the cultural sphere of Iran. In other word, we try to find out if Western culture as the Other is represented as non-culture, counter-culture or extra-culture within the text. Furthermore, this essay sheds light on the self-descriptive dimensions of this play that tries to (re)define the identity of the Self.

Menander is one of the greatest playwrights of the Greek New Comedy. The style of New Comedy differs tremendously from that of Old Comedy as written by Aristophanes in the fifth century B.C. The political freedom and the freedom of speech even during the course of the Peloponnesian War allowed Aristophanes to openly satirize prominent figures. New Comedy in ancient Greece and Rome heavily relied on convention. Thus, the concept of originality, as might be an important criterion for some critics based on which to evaluate literary works, is not sought for in this context. The writers of New Comedy were well aware of the conventions and did their best to create variations on the same conventions. Meanwhile they tried to use their creativity to make their own mark on this highly conventional type of Comedy. This paper attempts to analyze Dyskolos by Menander within the convention of New Comedy and pinpoint Menander’s creativity in injecting his creativity within that framework.

Sacred Theatre, a concept derived from the study of religions, which is charged by Peter Brook, has doubts that the audience can not find features and a clear definition of it. Since the western rational culture has less interest to explore the intuitive concepts of Brook's article, it can be claimed that the intuitive and wisdom culture of the East intuitive is a convenient reference for this study. On the other hand Antonin Artaud's theories influenced by eastern culture can also play the same role. This article that is base on descriptive-analytic method, studies The Sacred, Eastern philosophy and Antonin Artaud's theories to find the common quality between them and the sacred theatre to answer the doubts. Sacred theater is theatre for human expressing his invisible facts to make the invisible visible that can be done in two ways: 1- Remove the five senses and replace mental faculties of audience 2- Defamiliarize the familiar affairs