نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 21 (تابستان 1399)

Puppet (in dramatic art) is one of the examples of industrial design and subcategories of industrial property. The doll is a part of collaborative work because the components creating the effect, although distinctly but eventually create a joint product that is in common use. In the Islamic Republic of Iran, whether explicitly or implicitly, there is no statement about the rights of the adherents to the actors of the reputation and popularity of the doll (performer artists, producers of audiovisual pages, recording and broadcaster organizations). It should be added, that for some reason (the Science of Law and Unity Criterion of Article 62 of the Electronic Commerce Law) this right can be considered the same for all parties. In conclusion, regarding the fact that each of the authors has the author's right, due to the commonality of the work and the rights of the neighboring, like the monopoly of concluding contracts with other organizations (regarding a puppet who has an individual personality and a good reputation obtained on a specific program) the right of defense in act of violence is mutual.

Narratology combined with some theories on narration has been remarkably fascinating in the eyes of literary criticism theorists. “Manfred Jahn” is one of the theorists who completed the Focalization Theory from Gerard Genette and presented the Windows of Focalization theory. Focalization Theory in narration is a point of view that the narrator is focused on. Manfred Jahn, in his focalization theory, uses the phrase Windows of Focalization for the happenings and fictional occurrences in the narration. This deduction is seen through a lens that is grasped from the life experiences of the narrator and is called Umwelt. We know that Narratology is conducted in the field of fictional literature but, it seems that analysis of drama with various theories, even if not fully focused on drama, could be a way to understand dramatic works more enhanced. In this research, with a definable and analectic approach, inclined by written library documents with a focus on “Rosencrantz and Guildenstern Are Dead” by Tom Stoppard, Windows of Focalization was studied in the play’s narration and it was concluded that in the adaptation of the play “Rosencrantz and Guildenstern are Dead” from Hamlet, Windows of Focalization in a narration helped to create a new neoclassical narration in the modern world. Changes of the windows of focalization in the narration of “Rosencrantz and Guildenstern Are Dead” led the narration to a post-modern view with a deconstructive approach.

Verbal violence is a kind of lingual behavior and also is a form of social practice that entails the range of social structures, situational models, and linguistic codes which are appeared in the cultural system of a society, like the other social acts. These structures, models, and codes are prerequisites to the event of the lingual behaviors. The theoretical framework of this research is the Fairclough Critical Discourse Analysis Approach. The method of the present study is descriptive- analyzing, and the major aim of this study is to emphasize on the role of verbal violence of Persian movies with social dramatic genre, as an effective factor on the cultural and social structure of the society as well as determining the lingual strategies in representing this kind of verbal violence. This effect finally leads to differences in language usages and the kind of words selected. According to the face to face interactions of actors in movies as the participants in the discourses of these movies, the kind of words and grammatical structures and also the structures of the texts used in these movies are different. The results of this research show that in these movies, the context of a situation, type of discourse as well as social problems such as hopelessness, disloyalty, incorrect traditional beliefs, infant torment, addiction, the marriage of convenience and divorce are prerequisite to the event of the verbal violence. Finally, regarding the results of this research, metaphor, oath, curse, out of the common lexicon and taboo, reference, form of address, imperative and interrogative sentences, direct and indirect speech acts are lingual strategies to represent the verbal violence, and also social problems in these movies.

Decoupage is one of the most important elements for making movies. Most of the time, cinematic researchers have looked to decoupage solely from a technical and aesthetic point of view. In many cases, this has led to neglecting the capacity of decoupage in creating meaning and directing the moral judgment of the audience. In many cinematic analyzes, decoupage is examined from a technical point of view, and cinematic researchers often focus on technical decoupage models. The traces of such an approach are obviously evident in the books written for filmmakers. In such books, they focus on introducing decoupage technique and its different patterns to the young directors. Despite the undeniable benefits of this approach to enrich the cinematic knowledge of filmmakers, it’s necessary to note that the importance of decoupage is not only limited to technical topics but also this concept contains other orientations in addition to technical notions. The impact of decoupage on the feelings and moral judgment of the audience is one of these neglected aspects which means that decoupage, as one of the most important tools available to the filmmaker would bring dramatic meanings to the audience and guide their direction and judgment in the process of film events. The purpose of this article is to address the neglected aspects of decoupage functions. This research tries to give an accurate and detailed analysis to decoupage in two sequences of the “Glass Agency” (Ebrahim Hatamikia 1997) and “A Separation” (Asghar Farhadi, 2010), analyzes how to use the drama of these works from this cinematic arrangement and its moral consequences using the approach of Robert Sinnerbrink and the concept of "Cinempathy" (cinematic empathy) represented by him. Two movies are selected as the case study in this article, two important films which are made by two famous Iranian directors from different generations and ideologies. From each movie, just one key sequence is selected for analysis to reach more accurate and detailed results. By analyzing these sequences it’s been tried to examine the attitudes of two filmmakers in using decoupage as a meaningful and effective way to shape the audience's “cinematic empathy”. In the first step, decoupages of the selected sequences in both movies are analyzed in detail. In this section, it’s been tried to analyze the decoupage characteristics of each film in the selected sequence by choosing a structural approach to reveal the effective features of each film in the field of decoupage. Then, the next stage attempts to examine the approach of the two filmmakers to the orientation and judgment of the audience through the decoupage they have done to reveal the ethical position of each filmmaker concerning the characters and current drama in each sequence. In this section, the decoupage of the selected scenes is analyzed based on Sinnerbrink’s votes to realize both directors’ views in guiding the feelings of the audience wholly. This article shows that decoupage plays an important role in the audience's orientation (or not) regarding characters, and plays a crucial and undeniable role in the moral judgment of the audience about the movie events and dramatic characters. Hence, each filmmaker should notice the effects of decoupage on the moral judgment of the audience.

The theoretical spheres of discussion, as to the often querulously argued issue of ethics are and have always been rather a matter of speculation than examination, i.e. usually encountering abstract problems more than the concrete ones. Examining the ethical regimes in the cinema is an instrument to approach the issue in a more pragmatic fashion that brings it out as something we involve daily. The present study is another step along this path, using one of Emmanuel Levinas’s best-known keywords, the Face, as its main ethical issue. To Levinas, what the Face represents is the ambiguous yet ethically explicit mean of an encounter between the self, or subject, and the “Other”. The Face is the very spot where the “Other” appears as an ethical command addressing the subject, while Levinas’s literature leaves us undecided whether it is some concrete issue, in terms of the physical face or another abstract notion. In this research, it is pointed out how the cinema did not recognize otherwise in an unethical way. It is also possible to conceive a relationship between the master and the slave between a powerful subject and “Other” in the cinematic image. Many films have such images that their ideological function is supposed to trigger a feeling. Here, the other person does not have a moral decree. The face is ideologically more important than anything else, and it makes the audience more active. It is influential on masses, and not the individuality of the audience. It affects the presence of the audience as one of the many that are desired. In this type of work, and especially in the scenes of events, the crowds of the crowd, although apparently present, have no faces, and the crowds of enemies are part of a massive story that reveals itself as evil. However thoughtful cinema does not consider the concept of “Other” and its filmmakers who do not have an ideological look. We test the idea by examining two famous movies of the Iranian Cinema, i.e. Abbas Kiarostami’s ‘Close-Up’, and  Asghar Farhadi’s ‘ A Separation. The present study is to define clear specifications with the movies that comply more perfectly with the Levinas’s ideas are quite distinguished. This distinction, of course, contains the refusal as to assimilation of the “Otherness” in the strong influence of the Subject or Self and trying to start a conversation with the “Otherness”. The complication worsens when what Levinas calls the Third Party enters in the Subject-Other relationship and we are no more dealing with the “Other”, but the “Others” who are each Others to one another. Here begins the issue of justice and law, and also what we have tried to explore through the two movies in which we can find clear concerns about the relation of individuals to each other just as to the courts of law. This is how ethics could be more practically examined in our social life and the philosophical issues regarding ethics turn more accessible.

Ney-e-Haftband (referred to as Seven-curved reed in Persian) is the only Iranian aerophone musical instrument with acoustically simple and natural structure. This instrument adjusts to the Iranian musical-instrumental system, and now it is one of the main Iranian classic musical instruments and the only aerophone instrument used either for solo or better complementation of the sound of music groups. This reveals its high capacities and desirable sound, but producing all Iranian classic musical Potential notes with this instrument is not possible or has some problems. The lack of some Active notes in this instrument, such as B note in the bass register, prevents the bass sound from connecting to the treble register and the unity of these two sounds. Also, in some tonalities of Dastgahs or Avazes, performing opening Goushes, such as Daramad which should be rationally and acoustically performed in the bass register, are not practical, and they should be inevitably performed in this (thirds sound of) sound. Creating more holes using extant technologies in the industry of manufacturing wind instruments can be a good way for improving the capabilities of this instrument and solving the mentioned problems. In this study, acoustic the construction of the including several Potential and Active notes were examined, and then a plan was offered for increasing the notes and connecting bass sound to the peak. This research was conducted based on the experiences of players and field studies were done with the help of some present teachers and players. Conducted studies about six holes and its evolution trend in the past and the shift from lip blow into dental blow showed that in the present shape, masters of this instrument have performed maximum and the best notes using six fingers with the most suitable distances. Accordingly, any change in the place of previous holes- six natural holes existing on the instrument- and any mess in the present distances can’t be a solution for the mentioned problems. Based on the studies and interviews with the players and manufacturers of this instrument and different tests in the past four years, a compelling plan was offered on the completion and optimization with the cooperation of a traditional music researcher-Rasool Sadeghi and the author which can be a solution for this issue. In the Keyed Ney, four new notes were created, three above the holes and one inside the setting. Creating B note and alliterates of this note along with C note, following bass sound is important in creating the connection of bass sound to the peak and increasing capability of the instrument. The integrity of the sounds and connecting bass sound to the peak provides the possibility of performing better and easier different tonalities in the Dastgahs or Avazes and more facilities for performing different Goshes in their proper frequencies.

Improvisation is a form of supreme, most important and distinguished way of performance in Iranian music on which subject there has been so little amount of research invested, despite its impressive importance and influence. The kind of research conducted so far has mostly been related to introducing or mentioning the historical aspects of improvisation. Dealing with the epistemological aspects of improvisation and hence contradistinction of its shaping components is a momentous subject that has been neglected until now. This research is assembled using the analytic-descriptive method, qualitative analysis of the previous research, and reliance on personal experience. Hence, initially, eight components are introduced, explained, and codified by collecting the opinions of the improvisation expertise and as such identification of the alternate key vocabulary among them. Thence, to extend these components in such a way that they can have sufficient universality for the Iranian music, the two components “episteme” and “imagination” are also added based on the mystic, philosophical, ethnic musicology, and scientific resources. As a result, the present article derives the following ten titles as the forming bases of the improvisation: intention, expertise, existence, creativity, flow, tradition, episteme, memory, imagination, and real-time. Altogether, these subjects make the improvisation possible for the improviser. Education, tutoring, and the dissemination of improvisation would be possible through reinforcement and reliance on the above-mentioned components.