نشریه تئاتر
سال سوم شماره 66 (پاییز 1395)

One of the important ways based on which dramatic discourses put semantic uncertainty at the top of their agenda is passing from a positive situation towards a negative situation. In this case, a discourses progresses towards a non-discourse. Non-discourse can provide a context for fluidity of the form-content relationship. In some cases, this fluidity can be created in a concrete and objective manner in the discourse, and in other cases, this objectivity is attenuated and reinforced from time to time. How, given the meaning deficiency, reduced cognitive aspect, negation of its existence system, linguistic insecurity, and increased tension process in a discourse context, can discourses become a place for discourse challenge, and as a result, a place for passing from a stable discourse situation towards an unstable discourse situation? In fact, discourse fluidity, is not only among the factors which attenuate the function of stable discourse, but also, by injection of negative situations, it would direct a discourse into a non-discourse. Relaying on play including Oleanna, the main objective of the present research is to demonstrate how a positive discourse moves towards a negative discourse, and eventually ends in a non-discourse. Undoubtedly, due to the fact that play discourses can find a way to a scene and can be performed, they are appropriate examples to investigate the conditions for discourse development and transition to a non-discourse aspect of the relationship.

“Video Projection”, as a technological phenomenon, is comprised of two words: “video” and “projection”. According to the Oxford Dictionary, video is “a system for recording audio and moving visual images on video tapes or other data storage hardware” and is etymologically derived from the Latin word “videre” (to see). In the same dictionary, “projection” is defined as “the act of presenting an image of something on a surface”. Arnold Aronson (1911 1998), an American scenographer and professor at Columbia University, views theater as an art with two main wings: time and space. Accordingly, with the help of the available special visual tools and equipment, the contemporary theater director and scenographer tries to create the time and space required for the play. The theoretical framework of the present study was based on the viewpoints and ideas of Ernst Gombrich (1909-2001), the British historian. This study was mainly aimed at explaining the role of video projection in creating physical, psychological and narrative times in the scenography of contemporary Western theater. The article also tries to reach its goal using the analytical-descriptive method referring to library resources and images. In this article, the research overview was presented in the introduction and five sections were assigned to investigate five areas including: Gombrich’s views on illusion, time, and image; the concept of time and its essence from the perspective of Western thinkers; time in drama; about video art; time and video projection. The results showed that there was a significant relationship between video projection and the transformation of the past and future into the present. They also confirmed Gombrich’s theory about the past and future being illusions and proved that it was possible to transform the past and future into the present through images. In addition, the results indicated that creation of physical, psychological, and narrative times depended on the practice time, the performance method, and the visual techniques, respectively.

The present article has made use of one of the two written accounts of the puppet shows in Tehran dating back to a century ago, compiled by the renowned scholar in the Iranian studies, Roman Andreevic Galunov, which are the oldest known text. In an analysis of Galunov’s script, the elements incorporated in the show were extracted and compared to more recent elements of marionette shows to provide a prospective of the variance between the recorded performance and other, more recent performances, as well as the sociocultural influences contributing to the formal aspects of the genre. In the review of literature findings of the philology on the subject has been provided. In the thesis statement, the genealogy of works on the Persian puppet shows and Pahlavan Kachal performances compiled by the author have been listed in order to find the information gap in the field. The article then goes on to analyze features such as the plot, characters, performing aspects such as the set, location and the language employed. Ultimately, the influence of the contemporary sociocultural events on the show are examined.

The present article attempts to study the main effects of couple relationships in dramatic literature of the recent decade in Iran . This is a descriptive – analytical study. The contents of this research include family and theater studies. In this regard, we have selected a number of important dramas of this period and analyzed and compared them, using a conceptual framework farmed mainly based on the theories of Giddens, McCarthy and Edwards as well as dramatic elements consist of characters, dialogue, conflict, mise-en-scene and theme. Based on the conceptual factors in family relationships defined in this study as anomalous relations, drama elements reflect the couple relationships during performance. The findings of this study reveal that in the 1980s most of the reflected couple relationships have been concentrated on social deviance (family intervention, domestic violence, infidelity, hidden relations, and emotional separation). Playwrights have depicted the community face and used the couple’ relations as a symbol of individuals’ relations and as a model of macro-social relations.

Violence is a phenomenon that is effective in the development of one's personality and at the other hand, by creating suffering caused to greater awareness toward the community. Violence could have several meanings, from the conflict between the two men to war and genocide and since the tolerance of violence death is in human nature, so the natural tendency exists in him/her to escape of pain and suffering as well. During different periods, one is never sure to be rid of all kinds of violence and terror, because according to many scholars, not only violence is the product of social conditions but also inherent in human nature as well. But the group of thinkers who see violence as the only product of social life, so far various ways and strategies have been proposed for the prevention and eradication; of course today the situation of societies shows that at least until now have been impossible to achieve such demands. The violence in plays of Jean-Paul Sartre has a special place. Sartre wants to tell all the chaotic people after post-World War that they have responsibility to gain their lost freedom again with the help of awareness and choice, even if it is forced to commit violence to reach this goal and committed acts that are contrary to existing morality and rules. Sartre believed that the art of drama has a direct impact on the audience, so he through his plays puts the audience in the position that forced him/ her to choose despite the gaze of other and apprehension. This article first discusses violence from the perspective of Western theorists and Sartre deals, then, using the descriptive analytical methods discusses the discourse of violence in the work of Sartre on the ideas of existentialist and with emphasis on The Victors and The Condemned of Altona.

One of the most influential discourse on dominance is Weber’s theories that are, however, quite age-old, still are used in social studies. Dominance as a facet of power in the whole concept is a mutual relation between the system of power and obedient person or persons. So it’s classification from Weber’s point of view forms three systems of dominance and following it three types of obedience which is highly important in interpretation of social relations of a theatre. This classification includes: Traditional Domination that relies on the use of very ancient sacred traditions, Charismatic Domination that relies on personal charisma of a hero, and finally the Domination of Law-Wisdom that relies on the rectitude of rules and regulations approved officially. Symbolic point of view is one of the most important semantic interpretations of puppet in which puppet are conceived of a sign or symbol of human being. Since the major semantic element of puppet’s existence in a performance is the presence of puppeteer and his/her control and manipulation that makes puppet’s character, it can be explicated based on “power” concept of Weber in “dominance” in which the puppet is in the situation of being directed. By this view “Puppet being” is the description of situation in which a person is dominated and directed by other and can be retrieved in different kinds of social relationship. What it makes this concept stabilized in social dialogue is extensive use of the term “puppet” in social and political issue. Retrieval of Puppet being kinds is a convenient way for puppetry adaptation of texts in two performing and researching scope. The case study of this issue is a play, named Hamlet with Season’s Salad by Akbar Radi, one of the well known Iranian playwrights whose works have been compared with those of Anton Chekhov and Henrik Ibsen. The tough realism of his work gets into a social theme because of his studies in social science. This play with a tone of humor and grotesque ending provides an explanation for bride’s and groom’s arrival in unconventional, ridiculous, domineering and slavery-interested world of bride’s family. From the very beginning of the text and by author’s verbal and formal delineation, the dominance of bride and later the domination of bride's family on the groom’s character “Damagh” are completely found. This domination, which is a sample of Traditional (Family) Domination, is firstly introduced by the superiority of bride “Jigargushe” over Damagh and also by the traditional dominance of patriarchal system in characters like “abolpashm”, “alijenab” and grandfather and then is followed by Charismatic (Ideological) Domination formed owing to jigargushe’s considerable effort into presenting her family members as charismatic characters. These types of domination lead Damagh to a complete puppet being. Semantic search in the play for signs such as training, obedience and possession in Traditional (Family) Domination, emphasis on charismatic aspects of grandfather, uncle and father in Charismatic (Ideological) Domination and also concrete behavioral symptoms of being puppet can be indicated Damagh as a puppet being.

This research entitled "an evaluation of the theatre as an artistic field in Iran" to study the different cultural, social, economic and symbolic capital based on the theory of "an artistic art of Pierre Bourdieu". The research method is a descriptive survey type that is performed using field method through a questionnaire for a sample of 200 actors and 22 directors. In some cases to complete the theoretical design of literature, the historical method of documentary technique was used. The results revealed that the cultural capital among the actors is high: 27%, 72.5% in moderate level, the social capital is high: 4%, 47% in moderate level, 27% in low level, economic capital: 85% in the moderate level,11% in low level, Symbolic capital is also high: 82%, among the actors, 17.9% in the moderate level were obtained. Among the directors, the following data has been obtained: the cultural capital of 31.8% at high level, 50.5% at moderate level, social capital: 13.6% at high level,, 59% at average level, 4.5 at low level, the economic capital of 45.5 at high level, and symbolic capital: 4.5% at high level,, 72.7% at moderate level and 18.2% at low level. Overall, the studied reviews concluded that the theatre in Iran has not yet become an artistic field despite having different types of capital and some of the main parameters of field such as resistance against the political field and independency have not been found in this domain.