نشریه تئاتر
سال هفتم شماره 83 (زمستان 1399)

Theatre and performance create a theatrical atmosphere by using and combining images and words. The theatrical atmosphere is perceived by audience’s imagination and changes to meaningful signals that convey the meaning of the play to them. Space dramaturgy is usually associated with composing, organizing, and processing; A solution that introduces the scenographer as one of the main pillars of shaping the performance for writing through the definition of space. Examining the concepts of the play, visualization, and putting these concepts in broader contexts with the language of image and space, forms the basis of a Scenographic dramaturg, whose the base of work is interpretation, deconstruction, creation and writing new worlds. The present study seeks to answer the main question of how to move from written text to production of unwritten text and performance text, relying on the hypothesis of the effectiveness of the idea of deconstruction theory on the formation of Scenographic dramaturgy in performance. Derrida ‘s studies require a careful consideration of the textual evidence and the logical contradiction that the flow of writing can interfere the interpreter’s attempt to get a united meaning and crystallize new concepts from the text itself by re - reading the dual contrasts, hidden layers within the text, intertextuality, the presence and absence, differentiation, playing with meanings and signs, links and textual breaks. The present research aims to improve the knowledge of designing in organizing the theatrical atmosphere by conducting an interdisciplinary study in order to get acquainted with the infrastructure of foundation - breaking to pass from the written text to the production of unwritten text and text of the performance space. The present dissertation is a qualitative research based on library resources and reputable Internet sites. Undoubtedly, in such studies, the interconnectedness of theory – practice structure, alongside each other can transform fixed patterns and forms, even of the past performances of classical plays.

In the simplest definition, migration is a kind of displacement, and the concept of ‘Identity’ is highly important in migration studies. By entering a new place, the immigrant is always exposed to redefine his or her identity in a way that in the mechanism of intercultural translation, he may abandon his values and identity and transform himself to another person. Aiming to investigate the impact of migration on identity, the current study presents a reading of Stones in His Pockets play by Marie Jones and also answers the question of how the migration experience affects the characters of the play and changes their identities? Stones in His Pockets is a play that represents critical and different forms of the migration experience. This study has employed a descriptive-analytical qualitative method and has benefited from ‘Intercultural Translation theory’ by Farzan Sojoodi, ‘Third Space theory’ by Homi K. Bhabha. The results indicate how the experience of migration has affected the main characters of the play. This effect, in various types of migration such as ‘migration to secondary place’, ‘returning to the initial place’, and ‘spiritual migration’ causes the identity of characters to be unaccepted by others and also themselves. It has also caused their identities to be in a state of distortion and in-between.

Transcending the confines of the playhouse, street theater expands its scope of influence over streets and communities and goes beyond the traditional rules of the classical stage to establish a deeper connection with different audiences. Street theater artists commit themselves to the realities and issues of society and use the street theatre as a medium to make a difference in the lives of those people with whom conventional theater fails to communicate due to political, economic, and cultural reasons. John Dewey’s views on aesthetics and education seem useful for improving the social and artistic function of street theater, because he prioritizes the functional aspect of art, maintaining that for things to be valued by humans, they need to both fulfill human organismic needs and pave the way for the improvement of lives. To Dewey, the job of philosophy was creating social change, which, he believed, is achievable through education. Based on his point of view, experience shapes the basis of education, the goal of which is to prepare individuals for active and positive participation in society and, as he puts it, “achieving greater growth”. Conducted as desk research, the present study consulted Dewey’s philosophy of aesthetics and education to offer pragmatic ways to empower street theater. The effort found that by relying on Dewey’s ideas and by portraying themes of everyday life, this form of theater can make use of its potentials to change lives and inspire the social, individual, and moral growth of citizens. Moreover, street theater can create empathy among members of society, making them a united whole when it comes to tackling social issues. It is hoped that the study use of Dewey’s philosophy as a source can help street theater artists become accomplished social activists who make society a better place.

This article reads George Bernard Shaw’s Arms and the Man from three different aspects of the text, audience, and the historical structure, in the light of Louis Althusser’s sociological concepts with a focus on the concept of “Ideological State Apparatuses” in order to emphasize the presence of ideological and anti-ideological discourses. Given the anti-war nature of the work, Shaw’s play is one of the clearest examples in which conflicting discourses about war, namely the belligerent discourse and the anti-war discourse, are reflected. The present study examines belligerent discourse in the ideological beliefs of romanticism and heroism and seeks out antiwar discourses in the realistic and pragmatic approach to war. As the two opposing approaches to war are expressed by representatives of ideological and anti-ideological discourses, Althusser’s concept of “an ideological call” is used to emphasize the process of producing ideological subjects. In addition to explaining the conflicting discourses in the play, by citing Althusser’s definition of literature in Lenin and Philosophy and “The Letter on Art”, this article discuss the possibility of the ideological or anti-ideological function of Shaw’s play in the real world by referring to some performances of the play. Considering the historical documents and Shaw’s dissatisfaction with his audience’s misunderstanding of the message of the play in its performances in England, this study concludes that, in line with Althusser’s argument, the only way to ensure the anti-ideological mission of this literary work is to highlight the conflicting discourses through literary criticism.

According to the discourse atmosphere of the production of plays in each period, the characters of the play define, produce and specify their identity elements. Identities are formed based on social structures relying on collective memory and all epistemological sources and with considering the objective social structure, but not all elements of identity have the same status and importance. Some elements of identity always play a greater role in plays and other elements remain hidden. According to Lucien Goldman, the collective nature of literary creation is the consequence of this issue that the structure of works is shaped by the mental structures of social groups within society. As a result, the artist or writer is the product of society. The present article tries to analyze and compare the characterization of the two plays “The Golden Viper” and “Beneath the Saqqakhaneh Passage «, based on Lucien Goldman›s theory, and gives a more accurate picture of human in reacting to the prevailing social and economic conditions of modern times with different culture of Loties and Lumpens. The aim is to find out: After the beginning of theater in its western sense in Iran, how the differences and similarities of the presence of Lottie and Lumpen characters occur in these works? This study has been done with the method of qualitative research and the results indicate that although the two groups initially have a common origin that were the same as in the past. But in the continuation of the path, according to the socio-economic and political conditions, they have gone in two different ways. In the meanwhile the Loties who can be found till Qajar period, are analyzed and absorbed in the lumen groups. It seems that Nasiriyan in the characterization of the play «The Golden Viper» in which traces of mystical drama can be seen, have become more inclined to the Loties because of this mystical approach of his characters. In contrast, Akbar Radi, relying on a socialist view of the characters in the play «Beneath the Saqqakhaneh Passage «, provides a clear picture of the Lumpen architype, which reflects the social reality of this stratum in the contemporary era.

Historical drama has always been one of the important fields in dramatic literature. Focusing on that in contemporary Iran has led to the emergence of “Qajarism” in which contemporary dramatic literature deals with life during the Qajar period in the context of its historical events. This study tries to address the social contexts of the emergence and spread of this type of drama in the mid-seventies to mid-eighties in Iran. In this research, Georg Lukacs views have been used to analyze this emerging phenomenon. According to Georg Lukacs, and within the framework of his theory of reflection on art, historical dramas are dynamic reflections of concrete historical contrasts that provide the audience with the ground for understanding contemporary social concepts. This contrast has been reflected in the case of contemporary plays centered on the Qajar period and especially the constitutional era in the context of the confrontation between tradition and modernity and the process that has taken place in contemporary Iran. In this research, after examining Georg Lukacs views on historical drama and its characteristics, new historical contexts that have led to the emergence of this type of drama will be examined and the manner of this social reflection in the researched works will be examined.