نشریه تئاتر
سال سوم شماره 64 (بهار 1395)

Every form of media needs its own special way of creating ideas which leads to the formation of concepts. Radio drama¡ in writing or performing¡ is not an exception and in its ideal form should only be understandable via audio media. Based on the same logic¡ it can be assumed that changes imposed by being three-dimensional in a radio drama¡ would cause them to have their own way of creating ideas and styles of writing. In this paper¡ by using imagination¡ the general theory and studying different technical systems of radio broadcasting such as Mono¡ Stereo and high order systems¡ we determine this special style of writing¡ called the Silent Character style. In this style¡ the point of listening )POL( of the main character is positioned in the audience's location which is the center. The main character does not speak through the play due to dramatic and technical reasons and his/her situation are explained by other characters. The mise-en-scène in three-dimensional dramas that use this style is helical for three-dimensional systems based on headphones )binaural(¡ and rotational for systems based on speakers. But these kind of dramas do not differ from mono and stereo dramas in the way of creating ideas¡ however there are certain themes that are more suitable for them¡ such as interrogation and plays with psychological themes based on mental diseases.

Amongst all traditional puppet shows of the whole world, the Iranian puppet show “Pahlevan Kachal” and the Turkish play Karagöz are two samples that have various similarities, in spite of their significant differences, the most obvious one is their techniques. Pahlevan Kachal is a hand puppet, while Karagöz is a shadow play. The current article takes an analytical approach, based on the French school of comparative literature to study the structure of two plays also through the character analysis finds the bases of Pahlevan Kachal and Karagöz’s popularity in the origins of their societies and compares them with each other. Both characters are born and lived in the context of the mass society up to this moment, and both try to find a way to the future. So according to their numerous resemblances, it is possible to discover common cultural roots in the Iranian and Turkish audiences. Pahlevan Kachal and Karagöz are two national heroes who both develop religious-moral, political-critical, and cultural-social teachings in addition to their behavioral and outward similarities. They are aware that irony, either in speech, face appearance or in music, and eventually in creation of happy atmosphere is the method to use for building a connection with the audiences. The methodology used is a mixture of descriptive and analytical methods, and is benefited by library and internet research, in addition to the personal experience of the author regarding a number of “Pahlevan Kachal” shows through several years and attending various Karagöz plays which both add an experimental method to the two other methodologies. In the end, the research studies the contemporary audiences of the shows in order to suggest an evolution for their future, since both plays are in a similar state of disregard and eventually “failing to remember” by the audiences.

A qualitative and quantitative study and also a study on publication of works related to Resistance Theater such as theater scripts and specialized books could be a reflection of growth and development level of such theater in Iran. Present paper is a descriptive – analytical study using statistics and data produced by “House of Book” and governmental institutions. First we will use tables, diagrams and pictures to study publication condition of books related to resistance theater in Iran )specially in early 2000’s and 2010’s( and what kind of problems and obstacles prevented publication of such books? problems include: ignorance of private and public institutions and organizations to publish works related to resistance theater, economic obstacles, educational and contextual weak points, limited number of published books, problems in book distribution system, mismanagement and lack of proper planning, working to be noticed in festivals, working for celebrations, lack of interest for audience, ignorance toward research activities, book censorship, publication concentration in capital, decrease of investment in cultural and art section will be discussed. Fallowing is mentioned in publication condition of books related to Resistance Theater has a direct significant relation to state and qualitative level of Resistance Theater in Iran. Publication of works related to Resistance Theater will reach a proper qualitative and quantitative level whenever there is stability and required planning in policymaking, budget allocation, management and planning. Lack of required policy making and will in this area have led to constant stagnation, fluctuation and lack of programming in publication of Resistance Theater books.

This paper figures the new principle for post-dramatic theatre in the frame of ‘post-traumatic’ history which will free all repressed traumas of history and community that is neglected by them, and be taken back to them with inherent violence of their images. Mentioning reinterpretation of traumas after the mid-20th century, I focus on Judith Herman and Cathy Caruth’s surveys, as the members of PTSD )post-traumatic stress disorder( studies. This group has posed new definition for traumatic dreams and memories by devising the term ‘traumatic reenactment’. In this way, every moment of ‘now’ is the enactment of the moment of ‘past’. Curing these traumas, we both urgently demand historical experience. But how we could access to a traumatic history? Reinterpretation of new tragedy as a political theatre in the frame of post-dramatic theatre will be the answer. For this purpose, with an emphasis on ‘traumatic reenactment’ the principle of triple communication between victim, perpetrator and witness is renovated by essential tension between spectator and actor, and the inherent distance between them. So, the entire scene becomes traumatic reenactment of a singular traumatic event which has been fixed in the specific moment of past. By reenacting the past, each actor or spectator stays in the liminal state, as a ritual performance. This moment is the moment of pure consciousness. This will be happened by transgressing the boundaries between the Real and reality, as Jacque Lacan mentioned. In this level, they will be gotten the strength of talking about what they have repressed in the past. So, in this state of consciousness, both spectator/ actors will make their way to the ‘shared memory’.

During the concequens years and centuries, Iranian classical literature led to world literature evolution and always has been accepted and adapted by famous and notable writers around the world. According to intertextuylity theory the texts do not seprate from their past and they engage by the litratural and cultural relations. In the other words the text does not created in the hollow and it should be examined in the broader context. In this regard Iranian literature study has been introduced as a pattern in structur and content. This research has been done by descriptive- qualitive and content analysis methods. this article attemps to examine the role of Iranain classical litrature on the Shakespeare thought and writing method and tries to show the way that he affected by Iranian stories in writing Merchant of Veniz according to historical and cultural records. The findings show that Shakespeare has adapted his Merchant of Veniz from, Ghazi Hams and Divan-E-Balkh, Iranian oral stories that have been written by Sobhi Mahtadi there after.

Consult and study about stylistics of Iranian amusement )whether as Siaahbazi )with black and white face( or minstrelsy or panegyric and etc.( become very few and there is a significant needs for research and the bas status here that surrealism school, otherwise its reputation and authority in worldwide art society, is very obsolete in Iran, and there is not any independent and comprehensive study with amusement literature view. This study is as a pioneer study and first steps in this regard, and every first steps are very hard, dangerous and need much time, this article is abstract and substance of Art of Science dissertation of author which entitled “surrealism in amusement literature with a study on panegyric” by guidance of Dr. Nazer zadeh Kermani. Undoubtedly, one of the most persistence schools after world war one, and also arise from Dadaism school, is Surrealism school which is opponent of extremist rationalism – which accompanied with war and decay- and its principle based on Freud theories. Surrealism in its manifests, mostly written with “Andre Breton” and formulized its principles. Consult and study about mentioned principles in Iranian amusement- by study about minstrelsy literature which is as rare case of Iranian amusement and be safe in time passing- and the reason of using from surrealism component and how work of it, is a main aim of this study. It should be noted that tradition amusement of every county, which be safe in time passing, is a sign of this country’s culture and study about any aspect of this amusement type could lead to paramount and become driving component of this culture. Keywords:

Naqqali is defined as one of the most important Iranian traditional performing art in which verbal feature is dominated. Understanding the perceptual order of the representation in Naqqali might enable us to perceive how meaning of different stories are embodied in the course of Naqqali, yet little research has done in this regard. This article, through a semiotic approach analyzes the relationship of specific features of Naqqali: word and sounds of Naqqal )his linguistic and paralinguistic signs( with body of Naqqal )his mimetic, proxemics and gestural signs( in two different stories: joy and love )Bijan & Manijeh( versus sorrow and epic )Rostam & Sohrab( which were performed by Morshed Torabi in 1390. The study shows that over the course of each performance the way of the story presented is not necessarily influenced by what the story is about. So, the sort of body signs are same in both performances. However, the narrativization of the story has an influence on the discourse of performing body. In the other word, the diverse of narrativity in Rostam& Sohrab story embodies the diverse of his presenting gestural signs with high frequency; in contrast, the frequency of body signs in Bijan & Manijeh performance which has a linear structure is considerable limited.