نشریه تئاتر
سال پنجم شماره 72 (بهار 1397)

In her book The Second Sex, Simone De Beauvoir, the feminist existentialism theorist, states that woman is not born a woman, rather becomes a woman. With this approach, she considers “becoming a woman” something dependent on an element called “situation” which is the civilization and the historical, cultural, and political context of the society, which moves towards masculism and is the primary cause of women’s inferiority.Simone De Beauvoir believes that in a “maledominated” system, women are oppressed because they are another “man” in comparison with their own “self”. Therefore, a man is the “self” and free and is a determinative existent which defines the meaning of his own existence. While, a woman is “the Other” that is, the object of identification whose meaning is determined by what she is not ... Simone De Beauvoir adopted the feminist theory – existentialist or the object of being “the Other” from Sarter’s idea about the conflictual nature of human relationships. In her view, to be in the “Other” category for women is a fundamental concept in human thinking which is ingrained in the minds throughout history. “Male-dominated” system has not historically had a sectional domain and been limited to a border but had a universal scope which has been regarded as a “position” for the considered societies. With this approach, the “female character” in Iran has always been a reflection of the cultural, social, economic, and political “position” of the era of its own. This “character” on “position” is reflected in the best way possible in the works of the writers who have depicted their own society in a more pragmatic approach. Akbar Radi is a playwright who elicits his characters from the heart of the society through an objective, critical, and analytical attitude towards social phenomena. Among her works, the “Little Miss and moonlit” (Khanomche and Mahtabi) play from the perspective of addressing “female character” in Iran has been unique and had a special place throughout history. “Little Miss and Moonlight” is a non-linear narrative with seven episodes in which Akbar Radi has dealt with the lives of four Iranian women named Khanjvn, Leila, Gelin, and Mahroo from four different historical periods in iran but with common concerns and traumas.In this research, the author has started her investigation having this viewpoint that de Beauvoir’s thoughts are applied in female characters of Akbar Radi’s play Khanoumche va Mahtabi. Features that Simone de Beauvoir assigns to women include submission, objectification, narcissism, and belief in superstitions and witchery, which can be observed in these four characters (Khanjoun, Leila, Galin, and Mahrou). These four women are categorized as “married women” by de Beauvoir, which implies marriage, social life, and motherhood. The author believes that the connection of these four women and several different historical periods through Khanjoun’s dreams with similar elements such as “snake” is a reflection of their “collective unconscious”.. Moreover, the similarity between Simone de Beauvoir and Akbar Radi’s viewpoints, which have considered woman with a critical outlook and common elements, is of this category.

Metafiction as a form of fiction, in the postmodernist Literature domain, tries to distort conventional conception of reality. For the purpose, metafictions reveal their artificiality consciously, in order to insist on the fact that, concepts of reality and imagination has been integrated in the post-modern world. This article, by considering specifications of metafiction and in an analytic-descriptive manner, endeavors to show how The Play:“From behind the glass” ,has been able to go beyond its superficial and seeming meaning, and expand a central idea,. In consequence, we observe that the play offers some characteristics of a metafiction, without being an exact one. Representing the process of creating a play, the game of active role of the writer in the text, revealing the art of writing in play, integrated narrative levels which evokes the binary realms, and fragmented narrator in different fictional roles, integrate the concept of reality and imagination, and tries to deepen the central idea.

Tragedies are often associated with the death of the hero or other unpleasant ends. The evolution of the earliest examples of ancient Greek tragedy to Shakespeare ̓s great tragedies and the modern tragedy ̓s of today, clarify the importance of death in the tragedy. So if we want to consider the nature of death and being in Shakespeare ̓s tragedies, one of the best options possible, is to looking at this issue through the prism of Martin Heidegger’s ontological philosophy. Heidegger make his way to the being of an existence through death. In this paper, based on library resources and analytical methods, the issue of death in every four of Shakespeare tragedies (Othello, Macbeth, Hamlet, King Lear) was evaluated based on the ideas of Heidegger about death and being. This study will include an overview and four distinct part of analyze and a conclusion. In the analysis of the tragedies, we find out that among the heroes of Shakespeare ̓s tragedies, King Lear is the only title with existential death who experience the original being and death. Hamlet, who is the most suitable case to have an originary being, because of one possibility that he can understand himself following it, cannot experience an existential Death, and live authentically. Othello considering how he is drowned into the Other ̓s (Dasman) will, cannot even try to be an authentic existence. Macbeth being as a Dasein, is different from Othello, because Macbeth eventually understand how deep he sank into the Others ocean of dictatorship.

Dramaturgy is a western term which has been prevalent in Iranian theory and practice of theater as early as 1990’s. A term that Lessing introduced to western theater in eighteenth century, which has become one of the most important terms in the western tradition of theater ever since. As a dramaturge/ director, Brecht gave a broader spectrum to the implications of the term and turned it into one of the most significant topics of twentieth century theater. Meanwhile, in Iranian theater since 1990’s (which is to some extent the focus of this essay), by entering the practical and theoretical fields of theater, not only it provoked numerous topics regarding the ‘definition’ of the term, but also resulted in copious theater productions that were dramatized by a dramaturge. Such shifts and changes not only led to fundamental question such as ‘what is dramaturgy?’, but also stretched the domain of topics to the realms of identity, roles and borders of dramaturge/dramaturgy. This essay strives to offer a renewed explanation of playwright/director’s dramaturgical practice while probing its problematic aspects in Iranian Theater.

Nietzsche believes the deterioration of ancient Greek tragedy is the result of a great deviation under the influence of Socrates and his thoughts that totally impressed the ancient Greece culture and civilization. In the Birth of Tragedy Nietzsche tries to explain the tragedies of ancient times as a ritual manifestation of Greek man ontology and preach the idea that “life is justifiable only as an aesthetic phenomenon”. In the Birth of Tragedy Nietzsche speaks of an era where art and philosophy and myth and history were not distinguishable from each other and philosophy was no more than an aesthetic justification of existence. From the perspective of Nietzsche, Socrates was the first philosopher to enter the concepts of “Truth” and “Subjectivity” in philosophy with a dialectical approach that led the aesthetic and pluralistic civilization of ancient Greece to a deterioration. We try to explore the intellectual background of appearance Deus ex Machina in Late tragedies of ancient Greece as a sign of the decline of ancient Greek tragedies and identify their hidden face in the form of “subjective concepts” in philosophy. This article tries - with a descriptive-analytic approach and based on library documents - to study the relationship between the philosophy of subjectivity and epistemological foundation of drama. As a result, we conclude that the emergence of the subjective realm of the Deus ex Machina in the tradition of western thought led to the emergence of nihilism?

“Nasayih Al-Atfal” is a written version of the story of “The Little Sheep and the Wolf” which was transcribe by Mashhadi Mirza Zarnab in the Qajarid period. This story teems with dramatic potentials, as a result adaptations from this story for children’s literature, especially children’s theater is widespread. A considerable portion of children’s literature has always been concerned with educating children through literature. Among all literary forms, theatre fulfills this responsibility more effectively because it can bring direct experience to the child. Many different folkloric stories, has great potentials to educate children in their psychological growth. The separation of children from their mother which is a step towards growth and maturation in psychology is the dominant theme of this story. By taking into account the very fact that children’s theater has essential differences from adult’s theatre, the writers of this paper investigate contemporary theories of children’s theater and theories of child education, proposing that this story can only practice its psychological experience in an educational theater that moves away from its classical definitions. To this end, the article also investigates the elements and structure of the story according to Lacan’s theories of the Imaginary, the Symbolic and the Real, trying to show how the story enacts an experience of separation from the mother for the child, preparing him/her for similar real life experiences.

Henryk Jurkowski is one of the great polish theoretician of 21 century for Puppet Theatre in the world who has distinction and more perfect theory and detention about Puppet History and Puppet itself rather than other theoreticians in this field. Based on his theory, Puppet had originated from human imagination which formed for representing divinity and dominating over natural and supernatural powers and has ritual origin. Through passing time, Puppet appear in different forms and till today was classified in various kinds. As Mask has also ritual origin and similar function with Puppet among primitive humans and like Puppet has object- kind nature, then Mask can be placed the subset (sub genre) of Puppet based on Jurkowski’s detention. As in ancient Greece Masks served as different roles as Puppet , it can be also observed Puppetry elements in Greece ancient Theatre. In this research it has been tried to study theories about history and nature of Puppet by searching books and essays at first and then propose Jurkowski’s detention of Puppet nature and his theory about its origin which by comparing this two ideas, it will be answered to the questions of reseach.