نشریه تئاتر
سال هفتم شماره 80 (بهار 1399)

Finding the function of minimalism in postmodern theater directing, followed by acquaintance with Tadeusz Kantor’s experiences in the minimalism of the actor element, is a priority of this research. With the advent of the postmodern movement, the artists of this school used the tools and products that were unknown to the art world until then, to the point that they were considered an integral part of their executive tools. In the performances of this school, the performers do not act only by relying on their own words, but also use other and various new languages and tools, which sometimes these tools and objects are the driving force. Meanwhile, minimalist artists used industrial products and their assembly in the composition and creation of their works. Due to the lack of previous research on minimalism in postmodern theater directing, the aim of this study is to examine The function of minimalism o f the actor element in postmodern theater, in which minimalist artists in favor of their ideas, executive methods They took a special look and also with the aim of getting to know the director and avant-garde painter, Tadeusz Kantor, evaluates his experiences in using executive tools for the minimalism of the actor element. The present s tudy is a descriptive-analytical study that, based on library sources and interdisciplinary studies of art, as well as observing some of Tadeusz Kantor’s famous theatrical films, examines his experiences and thoughts in the direction of minimalism of the actor element. As a result of this research, we find that many postmodern directors minimi z e their performance from a text and turn it into a conceptual work, whether possible with body language or video, or objects and mannequins, or layout, or Accidentally, they play with every element. Also, the avant-garde director and painter Tadeusz Kantor, using his v i sual and visual mind in the style of conceptual art, uses the actor element to achieve a minimalism that transforms his theaters like animated paintings Picture.

Undoubtedly, attractiveness is the most important factor in an artwork. Since the “attractiveness” and “beauty” are of vague border and most of the philosophers deem that the attractiveness is the consequence of beauty, and as a result, we may say that the existence of each of the two factors is impossible without other one. Costumes in theater is one of the most important factors in performance, and always accompanies the actor, and on this basis, we may say that one of the important factors of creation of an attractive dramatic artwork (beautiful artwork) is wearing attractive (beautiful) costumes in that artwork, which may finally result in creation of a very attractive (beautiful) dramatic work. In an article entitled “Diseases of costume theatre” Roland Barthes who is an Aesthetician on costume and costume Design, has enumerated a few principles and rules (requirements) which might be considered as components for more attractiveness (more beautiful) design of costumes in a dramatic artwork. Method of capturing and gathering data and information in this research is a descriptive-analytical method, and the information is gathered out of the library references, reliablewebpages and field research. The question brought forward in this research is “how much the Barthes opinion would be effective in beautification and attractiveness of theater costumes ?” As we face with insufficient scientific and applied references and resources in this field, the importance of this research shall assist the costume designers and stage directors in finding the principles and standards for designing more attractive and beautiful costumes. In consideration of the investigations conducted about effectiveness of Barthes opinion about the costumes of two dramas of Ali Rafiei as case study, the most important achievement of this research is that the principles and rules intended by the Barthes about beauty and attractiveness of theatre costumes has been effective in practice, and may result in designing more attractive and beautiful costumes, and consequently, the performance of drama shall be more attractive.

This essay is based on intellectual property aspects of Theatre. Copy right and related rights is the main concern. The majore question is to what extend director and actors will enjoy the copy right. The purpose of this essay is to explore what is copyrightable in theatrical works and who will be the author. This paper will discuss will discuss the importance of protecting theatrical works by copy rights. It will show what is the definition of authorship in theatre and suggest some solutions for ownership in theatrical works in Iran. It seems that it is an issue for theatrical artists in Iran to exercise their copy right. It is suggested that to determine owner the difference between performances should be taken to consideration. In some cases, actors should be considered as more than a related right holder. In general, it should be considered that who made the most effort in order to create a performance and what is copyrightable in theatrical works.

Radio uses music in a variety of fields and applications to maximize production capacity in order to attract more audiences and increase their satisfaction. One of the areas that has received less attention is the use of musical drama for production of programs, especially radio documentaries. A radio music documentary that is produced from only two elements of music and effects in the context of a drama is like a symphony whose movements narrate different parts of the event. In this type of documentary, sign-making, each of which is responsible for a specific concept and meaning in music, takes over the narration of the story. Are. This research is qualitative and uses semiotic analysis method based on Saussure approach based on signifier and signified. The studied sample is Majid Entezami Symphony of Sacrifice and a radio show made in England called Intensive Care. The use of radio shows abroad is to ensure that the quality of effects produced in European studios is higher than domestic shows, and also the Foley Sound Effect technique is used in their construction, so the meaning of the media message to the audience is clearer and Is Guyana. The results of combining the capacity of music drums, effects and radio drums are presented in tables so that radio producers and producers can experience how to use the features of music drums with effects in the production of radio music documentaries by studying them.

The purpose of this paper is to study the analytical and etymological religious rituals of “Xarreh”, with an ancient Iran approach based on Clifford Geertz’s symbolic anthropology theory. At dawn, about 100,000 people of Khorramabad, Lorestan, with rituals of water, flowers and rose water (Xarreh) made in the streets and squares, and until noon of Ashura (seven hours) with an allegiant format based on documentation (associations of the meanings) of the Event of Ashura by expressing individual monologues in the important squares of Khorramabad Lorestan display. Religious anthropological hypotheses about this documented ritual are such that it has two basic applications in itself: 1- Continuation of historical citations based on a great event in the Islamic world that does not need to be proven 2- Transformation in the displays who are also drama displays that do not yet know its literary and civic roots. The idea, the bin of thought, the plot and the main form of this documentary indigenous religious ritual are defined based on socio-historical facts and existing documents that are documentary or narrative. The findings show that every year, the people of Khorramabad hold a religious show, with a special glory, and believe that the executive philosophy of this ritual definition the meanings of the facts and documentation of the Desert of Karbala. The results of the author’s four-year research in the field of research and available documents show that this ritual is performed only in Khorramabad, Lorestan, and two main reasons: 1- Association of the meanings of the Karbala desert 2- Artistic taste of the Lor tribe, has led to the filth and permanently of this dramatic structure. Four basic elements of water, wind, fire and soil (Axsij) rooted in the old Iranian literature are also important elements of the documentary ritual of Xarreh. This paper has been qualitatively analyzed using descriptive-analytical and in-depth method based on Branislav Malinowski’s functionalism theoretical framework and Clifford Geertz’s interpretiveism in comparison with documentary drama characteristics.

In investigations about historical literature of ancient Greece, Greek women were typically imagined oppressed and subjugated. Yet, women’s roles and positions in ancient Greek dramas, whether in tragedy or comedy, are unexpected and controversial. Traditionally, scholars understand this paradox simply inspired by the mythological system of thought of that time, but in the late half of the twentieth century, different interpretations of the female characters in dramas were suggested. Among the Greek dramas, I chose three comedies by Aristophanes, the father of Greek comedy. The plays are known as “women’s plays” and they are including Lysistrata, Thesmophoriaszousae, and the Ecclesiazousae. In Lysistrata, instead of gods and goddesses, women are the savior of Greece nation. They resist in front of militant men and bring peace to Greece. In another play, Tsemmophoriasus, women protest against misogyny and atheism existed in Euripides tragedies. They condemn Euripides to death because he insults women in his tragedy and made the situation hard for them. In Ecclesiazousae, women seek utopia by presenting the ideas for a communist society. They make their dream come true by disguised themselves as men and going to parliament. They vote for women ruling and made their utopia for a while. Aristophanes confronts women and men in three different positions in these three plays. In this article, these works were examined, and besides that, two opposing interpretative approaches on these three comedies were presented. I entitled them negative otherness and positive otherness. On the one hand, some scholars believe the otherness of women and the active roles of them in these plays are comical and abusive (negative otherness). In this part, I mostly concentrate on Taaffe interpretation. Meanwhile, other scholars suggested different approaches to women’s otherness in these comedies which are in accordance with feminist standpoint theory. They argue that women in these comedies are not comics at all. Women in these comedies are “the other” who has the epistemic advantage in comparison with men (positive otherness). They applied their own lives experience to make peace and ruled a utopian government, which can be explained by “Feminist Standpoint Theory”. In this part, I use Strauss and Foley analysis. At the end of this article, I conclude that studying Aristophanes’ plays from the late perspective provides a better understanding of the otherness of femininity in his works.