نشریه تئاتر
سال چهارم شماره 71 (زمستان 1396)

Nātyaśāstra is the most fundamental Indian treatise in the 5th century that deals with how the theatre is performed. Although this book includes precise details ج about how to play, narration type, staging, make-up, ac tor’s styles, etc, but considers creating a sense of rasa in audience as its most important goal. Rasa, which in the word means taste, flavor and ج extract, is used in this treatise as the pleasure of perception of the beau ty. This paper intends to recognize the expression of rasa as the main ج principle of Indian ritual performance, by studying its different mean ings in the great Nātyaśāstra. Therefore, after representing the position of Nātyaśāstra in the Hindu scriptures, we examine the types of Résa and its relation with the emotional components. Bharatamuni, Nātyaśāstra’s author, in the first pages of this book and in the account of how it is formed, says that the position of Nātya is like a sacred text, and he calls it the fifth Veda. This point shows that this treatise cannot be regarded as ج a mere theatrical instruction, as it is understood in the West. The instruc tions of this treatise describe the correct formation of a ritual play, and its purpose is to perform sacred ritual, not artistic theater. What is called the main purpose is to create a sense of rasa in audience.

Solo plays are a form of dramatic texts that have become independent and well known in the late nineteenth and early twentieth centuries. These plays are incipient in drama history. Therefore, their field of study is a new and emerging field. Iranian researchers always regarded these plays falsely as monologues, so the present research intends to provide a precise definition of these plays at first. After defining the main character of these plays with a Structuralism view, it goes on to analyze a number of prominent Iranian solo plays. This study, based on research of American practitioner Lewis Catron, elucidates concepts such as the narrator, the main character, and “The Other Absent”. Then it goes on to analyze the functions of “The Other Absent” and its other forms, in solo plays of Mohammad Rezaei Rad, Mohammad Yaghoobi, Mohammad Rahmanian, and Naghme Samini, each of whom uses this concept different from each other. The results of this study show that the existence of “the other absent” in solo plays is as necessary as the narrator and main character, and also it shows that in solo plays “the other absent” forms the main character and the dramatic situation in interaction with the narrator.

Analytical study about women position in Iranian society is a critical approach against patriarchal society and is being applied to support women’s role and their social engagement in Iran. This approach has been started gradually after the “Iranian Constitutional Revolution” period in Iran and now has a particular place in Iranian contemporary literature. The reflection of the mentioned expression has always been a challenging issue in Iranian literature, drama, theater, movie and visual arts. This approach has been succeeded and strengthened due to positive feedbacks from sepectators in different periods and especially after Iranian Islamic revolution. This critical approach also has been emerged in Iranian movies after Islamic Revolution; famous Iranian female movie directors such as Rakhshan Banietemad, Tahmineh Milani and Manijheh Hekmat have been created brilliant movies in this regard. Bahram Beyzaie is one of the most famous Iranian playwrights in Iran. He has created a significant and wonderful influence in drama and nearly in most of his plays women are participated efficiently. This highlighted presence of women can be seen in different plays such as Kalat Claimed, Memoirs of the Actor in a Supporting Role, Death of Yazdgerd, Afra, or the day passes, The King Snake, Sinbad’s Eighth Voyage and Pardeh Khaneh. In Kalat claimed play Aybanoo is a symbol of resistance against enemy, she fights against Mongolian army courageously. Belgheys is another major character in Beyzaie’s play; she has a complicated personality, an ordinary woman who turns into a revolutionary and inspiring character. In death of Yazdgerd play, wife and daughter of miller are two characters that are being involved in social and political aspects of their village and they are expressing writer’s thought and defending women’s rights. In Afra, or the day passes a reader has been confronted with a very kind, patient and strong woman who resist against neighbors by herself. Female personages in both social and personal arenas have a significant and influentional role in Bahram Beyzie’s plays. Their presence in 182 Abstract personal aspects of life is being demonstrated in their love, their loyalty to their beloved ones, their courage and resistance against patriarchal views. They also create a magnificent impact in vaster layers of society such as their village, neighborhood, city and even their country. These women are talented to utilize the minimum potentials and tools in their surrounding to the most of it. These women have vaious presences, In Sinbad’s Eighth Voyageand and Evening in a Strange Land plays their attendant have been displayed as mythical, romantic and theosophical personages. On the other hand In Kalat claimed and Death of Yazdgerd their presence has been demonstrated as historical and valiant characters. In this article, women’s role and Beyzaie’s points of view in his plays have been investigated. Moreover, on this subject other features of Beyzaie’s plays such as his philosophical and historical point of views, struggling against cruelty, avoiding heroism, relying on eastern culture in performing structure and nationalism have being reviewed. This research is considered as a qualitative, descriptive and analytic study and library resources are not being used in it.

(Alexander fojcko, Mohammad Hasan Rajaei zofrei, Hasan Salehi Rad) Ta’zia means mourning and bereavement and helding a memorial session for dear dead one but expressively it refers to a sort of religious play with special traditional traditions. Usually in Tazie traditional play, there are different versions of a session disperses all over the country. The research writers examine ta’zia for Imam Hossein(peace upon him) in descriptional-analytical method and based on three versions of fojcko, Rajaei zofrei and Salehi Rad,It belongs to the fields and historical periods. With regard to the subject importance(Imam Hossein martyrdom and it’s reflection in most of simulation-reading versions) The three parliamentary committees examined the proposed methods in comparative studies, and eventually it was concluded to them that there were twenty-four common events in these versions, of which thirteen were in three versions and eleven in Two copies of the ta’zieh meetings take place. Similarly, 37 uncommon events can be mentioned that occur as dispersed and shows each version distinctively.

The effect of Bertolt Brecht, the German theoretician and director, on Arab theater since (1937) can be investigated. Brecht's works has influenced playwrights, directors, and designers of Arab theater including Saad Ardash Egyptian director. In this article, which has been conducted through descriptive-analytic approach with utilizing library and internet sources, we attempt to answer this fundamental question that 'How has Bertolt Brecht's works had affected playwrights and designing performances of Saad Ardish in terms of format, content, and techniques?' and What motives and political, social, and cultural backgrounds were involved in making use of Brecht's theories?' The conclusion section emphasizes this point that Brecht was rapidly accepted in the Arab theater and drama which were inclined towards leftist orientations, leading to the utilization of his techniques and theories in theater scenes by a wide range of Arab artists.

Nowadays, environmental issues are one of the major world concerns. Major and complex issues that are often considered in the field of local and global macro economics. Meanwhile, sustainable development, will not improve without noticing economic subfields, beside the fields of culture and art. To achieve this, the following subfields and areas can be studied simultaneously with other environmental activists and placed on the path to sustainable development. Although, we have some concerns about Water supplies, environmental elements and pollution in Iran. One of the major elements that damages Theatre’s environment are the scene shops (designing and decorating studios). Scene shops that operate as small factories and have a specific production process. The environmental problems that these types of studios bring to nature -on their own- can be decreased by sustainable development strategies. In this paper, it has been tried to suggest solutions to reduce such problems in scene shops, based on some of the global achievements in sustainable development and environment friendly elements of Iranian traditional architecture. These suggestions include the procedure of producing raw materials needed to make the decor, creating or reconstructing the scene shop based on mentioned elements, and transferring and recycling the ingredients of theater’s decor. Obviously, these suggestions and strategies are the first steps through the way of development and expanding.

Nowadays, the method of training has moved from traditional and memorization based style toward cognitive and intellectual way. In this research, beside studying the influential plays and scripts on children and youth plays, the question that what has happened in the process of these plays in one decade or whether they had the minimum educational effect on children and youth or what approaches can be effective in educational aspects of plays or which type of theater can be more influential than others has been responded. The goal of this study is addressing the confronted problems in the plays for children and youth. In this study library research has been used to gather data and one play has been readied as a project. The result of this study reveals that now and in the last decade the plays and in general the theater in children and youth section has lots of defects and does not have a significant educational influence.