نشریه تئاتر
سال هشتم شماره 84 (بهار 1400)

In 2017, in the city of Tehran, 107 theaters with a total capacity of 26,568 seats have been performing continuously, most of which have been opened by the municipality of Tehran, the government and the private sector or by these three the department is managed. In each of these three institutions, there are potentials and shortcomings in the building and management of theaters. This research, has been written in a descriptive-analytical method using libraries and Internet resources. The main question in this research is how active the government, the municipality of Tehran and the private sector have been in building theaters in Tehran from 1978 to 2017? The main hypothesis in this article is that the passive policies of the government and the municipality of Tehran in the field of building artistic theater halls are in clear contradiction with the support of the private sector and the audience’s acceptance of this type of theater. For this purpose, first the information of Tehran active theater halls in 2017, including the year of establishment, capacity, managing institution and type of executive works have been collected and categorized. In the first stage of the analysis, the number of active theater seats per year in Tehran between 1978 and 2017 has been calculated and the trend of changes in comparison with the population of Tehran in these years has been examined, Then, the contribution of each of these three institutions in increasing or decreasing the number of theater seats in these years has been determined. In the second stage of the analysis, we have dealt with the issue of how many of the constructed theaters have been dedicated to the performance of art theaters, and we have identified the gaps in the activities of each of these three sections. The article concludes that none of the few theaters that the government has opened in recent years have entered the art theater market. Despite its effective activity in the field of theater construction, Tehran Municipality has been incapable of constructing artistic theater halls, and after 2012, with the entry of the private sector into the field of hall construction, the number of Art theater halls and chairs in Tehran have increased significantly in a short period of time.

With the appearance of Covid-19 pandemic, many jobs have encountered fundamental transformations. Termination and various limitations, has forced a majority of social professions to suspend. Theaters and performing arts are also among these professions. Due to the increasing prevalence of this disease, all theater halls have been shut down and artists have forced to stay in lock down. Meanwhile, many of theatrical institutions and artists, for the purpose of the continuity of their activities as well as the subsistence of theater, intended to hold various theater festivals under the title of “Online Theater”. The kind of festivals that are active and still running. The neglected matter in between, is the usage of “Online Theater” phrase. Whereas the whole kind of this presentation is based on smartphone platforms, there is an imbalance between the form and the content. All performing pieces have been presenting in a horizontal frame and they are still proceeding to be so; However, the commonly used format in smartphones and tablets is a vertical style. Thus, there is an incongruity of the frame presentation and its content. This article attempts to present a new method in production and presentation of online and smartphone-based performances. A method which is based on IGTV 9:16 and capable of removing the nonessential aspects of a piece such as captions, black borders, small size of the image and etc. as a result. Evidently, there is a need for changing the performance production methods to achieve this purpose according to smartphone features. In this regard, there are suggestions in this article to assist the smartphone-based performance artists and motivate them to produce unique and more attractive creations for the audience. This article is prepared, based on scientific applied research and reliable resources including books, articles and international creditable news agencies were used as its writing sources.

This study was an attempt to examine some of Sadegh Hedayat’s literary and historical works from the perspective of new historicism. Sadegh Hedayat wrote these works in a period when Reza Shah Pahlavi was promoting a type of archaism in Iranian society. Based on this romantic view, it is attempted to recall the glories that a country once used to enjoy, and thus, to propagate that it is possible to return to such a past. In his early years of writing career and in such plays as Parvin, Sassan’s Daughter and Māzīyār, Sadegh Hedayat addressed Iran’s glorious past. However, Hedayat’s romantic approach was different from the romanticism promoted by Reza Shah Pahlavi. Hedayat’s romanticism is a lamentation for an Iran whose pure nature has been contaminated with humiliation and degeneracy by the Arab invasion. An ancient Iranian first resists this invasion but gradually surrenders. Arab’s wretched nature increasingly penetrates into the Iranian’s pure and sublime nature, and finally, in Blind Owl historical nowel, the pure nature is metamorphosed and destroyed within this ignoble nature. Hence, in Hedayat’s works, one can identify a course of destruction of the Iranian identity, which is irreversible, while Reza Shah Pahlavi’s romanticism considers the possibility of the restoration of the glorious ancient time. In addition to these intertextual dissociations, there are other dissociations that can be observed in Hedayat’s works in terms of the encounter between the ancient Iranians and the invading Arabs.

A poetic drama or dramatic poem is a dialogue of the existential type of individualized existence with sparks of presence to understand the existence of a human being who has no greed to conquer the world and wants to discover it in himself. Why existential drama is poetic drama and is appropriate to transcend and how reliable our experiences are in this field? And, Of course, evidences can be found for a transhistorical comparative study that focuses on the hermeneutics of presence. The genealogical and comparative study of the existing phenomena in Heidegger’s analysis of «in the example of Holder Lane», Rend and Sin and the Originality of Beauty narrated by Hafez and the philosophical drama quoted by Marcel and Paul Ricoeur are the basis of this research. Hafez, by depicting the challenges of his living world, bases his drama on the myth of creation and the drama of destined sin, and introduces Rend’s character in a transcending shape to our culture; and this is only the Rend who can bear the heavy burden of establishing a transcendental Iranian drama. This study based on the hypothesis that “the Rend’s character in Hafez’s poems, according to its structural and content features, can provide a platform for structural production, especially many deep structural themes, for Iranian drama”, seeks to answer these basic questions: “How can the philosophical foundations of Hafez poetry be used for dramatic content?” “How can the capacities and poetic components of Hafez improve the ideological foundations of today’s Iranian drama?” And “Basically, what components and features of the Rend’s characterization can be used in the ideation, creation, and production of dramatic characters?” And finally, the important question, “How can a close connection be made between philosophical thought and dramatic thought?” Accordingly, while selecting Gabriel Marcel’s drama as a case study, this study seeks to study and research the movement from philosophy to poetry and from poetry to drama. In this respect, Heidegger’s views were studied as the theoretical basis of this research, and also the philosophical basis for the creation of Gabriel Marcel’s drama is a case study that provides the necessary models in the research process. This research also tries to achieve its goals in a comparative analytical way using library methods and available resources.

This research intends to introduce the concept of man as a subject beyond rationalism from the perspective of Deleuze and Perls and to explain an analytical reading of postmodern man by reading a play centered on empiricism and Gestalt therapy in the field of psychology and the philosophy of empiricism. To investigate this, woyzeck’s play was selected as a successful example of the experience of evaluating the human concept in postmodern drama. In woyzeck, Georg Büchner evaluates the position of man from a psychological and philosophical point of view and proves that the place of sense and experience is beyond the view of rationalists. This thinking can give the subject the courage to go beyond something human or even the courage to become a mere empiricist. This article seeks to answer these key questions: “What is woyzeck’s view of modern man based on psychological and philosophical variables?” And “How can such an approach to the relation of human meaning and concept in drama be reflected in the quality of the characterization of the drama?” In this direction, the present study, while choosing woyzeck drama as a case study, intends to study the concept of man based on the philosophical meaning of living and the psychological experience of the individuality of this concept. Part of the foundations of research theory is based on theoretical foundations based on the theories of Jill Deleuze and Fritz Perls, which are specifically studied. I then turn to the philosophical and psychological approach to the human concept in Buchner’s drama, which has turned the drama into a unique play from an empiricist perspective. This paper will also attempt to achieve this goal in a comparativeanalytical manner using library methods and available resources. The results of the research show that the concept of man from the perspective of Jill Deleuze in Woyzeck’s play according to his definition of the subject position which is due to the subject being pushed back from centrality (subjectivism) in the human-animal process and Perls’s definition of human position in Gestalt psychology Emphasizing the possibility of immediate experience can be read in this play.

The rise of fascism has had a profound effect on European literature, especially in Germany. Bertolt Brecht’s plays and the works of Walter Benjamin after the rise of fascism are examples of this influence. The rise of fascism and the German people’s association with it caused the absolute trust and belief in the revolutionary working class to be damaged and defeated. Brecht believed that absolute trust in the people and the belief in liberation from exploitation arising from the “progress” of the Enlightenment due to the unexpected emergence of fascism should be reconsidered. Another important consequence of the rise of fascism is war. Although World War II had not yet begun at the time of writing The Man Is a Man, Bertolt Brecht foresaw it with foresight. Forced deployment to the fascist war, the inevitable association of man with the aggressive war, and the transformation of the individual character under the repression of the fascist system are among the main elements of the play “Adam is Adam.” What stands out most in this play is human opportunism. Almost all the characters in the play are unable to prevent their transformation, and this is the catastrophe of the spread of fascism, which is no longer limited to the leaders and the Nazi party and encompasses all people. The play “Adam is Adam” is an epic play that tries through techniques such as distance, allegorical expression, prophetic companions, breaking the fourth wall between actor and spectator, metamorphosis of the hero’s journey, accidental events, revealing announcements of the future and. .. As much as possible, make the play educational and reduce its entertaining or cathartic aspect and raise the spectator from a state of ecstasy to a state of awareness. The overlap of comedy and tragedy is an important feature of epic theater. Epic theater does not allow catharsis and the fear and punishment of events and characters to frighten one of the consequences of the struggle against destiny. In this study we will find that Bertolt Brecht in the play “Adam is Adam” confirms the victory of the fate of fascism over man, although the open end of the play can be considered a way to free man and return from the trap of fascism.