نشریه تئاتر
سال هشتم شماره 85 (تابستان 1400)

Unconsciousness was first used in psychology by Freud who used it to analyze patient’s mind. Freud applied this term to literature analysis for the first time and introduced it to literary studies. But in twentieth century and by emerging different critical approaches, the psychological terms were redefined and used for new purposes. For example political unconsciousness by Fredrick Jameson found new meaning and were distinguished from unconsciousness as it appears in Freud. This new concept was under the influence of Althusserian Marxism and Pierre Macherey’s theory. Althusser considers ideology as imaginary relation of subject with her real condition of existence. On the other hand he focuses on symptomatic reading which concerns the unsaid and silences. Macherey, Jameson and Eagleton use his theory and through changing them, provide a literary theory for analyzing unconscious and ideology in the text. This essay uses their theories for examining three plays by Bahram Beyzai: Sunset in a Foreign Land, The Story of a Hidden Moon, and Pahlavan Akbar Dies. This analysis considers the different ideologies in 1960’s in Iran and how they reflect in these plays. On the other hand it will be examined that how Beyzai uses “national art” and folklore theatre and how changes them to shed a new light on theatre.

With the coming to power of Reza Khan and the establishment of the Pahlavi government with the model of the nation-state, major changes took place in the government’s policies. Including the establishment of identity politics that sought to create a unified nationality for Iranian society. Until then, and especially during the Constitutional Revolution, identity was not a national and unified discourse; that was the product of irrelevant and fragmented discourses such as politics movements, immature individuals, tradition, religion, etc. The institution of literature also reacted to this identity politics. In identity reflecting, Persian drama in the Pahlavi period underwent a fundamental shift compared to Constitutional drama. One of the concepts used in identity politics and nationalism, which played an important role in Persian (Pahlavi) drama, is the place/space. One of the important examples of this place is Tehran. The important chronotope that -with the emergence and consistency of the first Pahlavi drama under the domination of the identity politics, genre, and the government’s new approach to history- suddenly disappeared. We encounter the representation of the city of Tehran in the first Pahlavi drama is practically the representation of absence. The reasons for this concealment of Tehran / City are clarified in a comparative analogy with the Constitutional era. We observe how identity politics works and influences the concept of place. Thus, the favorite place/ space of the Constitutional drama -which had phenomenological characteristics-, changed its nature to the constructive and symbolic place of the nation-state in the works of this period.

The ritual of sacrifice is one of the oldest rituals that has been considered among different religions and nations. Humans throughout the ages have sought to please the gods by offering gifts and sacrifices, and to ward off their wrath. The victim, or “The trip of Lavian” according to the Bible, was the “goat of forgiveness” of the chosen animal which, by sacrificing herself, took away the burden of the sins of the children of Israel. Later, the title became a metaphor for each chosen individual, who bore the burden of society’s sins lonely and, by sacrificing himself, saved society from earthly and heavenly calamities - divine torment, torment of conscience. The sacrifice, whether sinful or innocent, was offered on behalf of all the sinners in society, and like Jesus in Christianity, he atoned for the sins of all (in the case of Christ, the original sin of man). The victim’s punishment, and its severity, was not commensurate with his possible guilt: he was punished to ensure that society remained healthy, vigilant, and henceforth free from corruption, disgrace, and destruction. The meaning of his punishment was: society was cleansed of “every” evil, “all” were forgiven. Such rituals have had the greatest impact on the origins of the play and over time have been crystallized in plays, both ancient and re-created. The East, which is a significant origin for the mirrors of movement, has had a tremendous impact, both in literature and in art, and specifically in theater. In the meantime, Bahram Beizai has benefited the most and in most of his works, the traces of the rebel (victim) can be seen and examined. With his extensive knowledge of myths, Beizai has used a variety of “victim myths” in writing his literary works. In this study, considering the inductive theory of James George Fraser and his approach to rotation, the theatrical mirrors that are based on the victim will be explored and examined. This research is fundamental from a functional point of view and descriptiveanalytical from a methodological point of view.

Considering that Shabihkhani is only Iranian traditional play which it has been performed since the beginning of its implementation based on written text. Investigating the features of its text from the monotheistic can provide meaningful gains for understanding the ancestors’ dramatic experiences. Meanwhile studying Shabihkhani in the meantime, study of Shabihkhani editions witnessing claims that the creators of this ritual play not only espouse Islamic thoughts and the influence of Iranian ethnic memory, but also the mythical thought and Iranian myths of other tribe myths that somehow inhabited the land, and also believed in Iranians and Muslims have been influenced by them. The Present article tries to answer the question with relying on mythological and documentation that: In the Shabihnameh narrative withers, how did Iranian myths and thoughts crystallized in description of prophet’s Daughter character? And finally, it concludes that: characterization of the Prophet’s Daughter in Tazieh brings the same position to the faithful audience that the water god, Anahita, has in ancient Iranian literature and beliefs and Hazrat Zahra (AS) in Tazieh has become manifestation of the ancient positive aspects of feminine models. By the way, as in Avesta, heroes and anti-heroes praise Anahita equally, this situation is repeated many times in Tazieh and even the opposition commanders respectfully refer to the Prophet’s Daughter and the Holy Lady’s. This article is based on a descriptive-analytical research, in which the information is obtained through library studies and taking notes.

Hegel , contrary to Aristotle , doesn’t know the destiny as the fate of the tragedy hero, but challenges and discusses about the necessity of the freedom of the tragedy hero , and from this point of view , for him , an excellent tragedy is the result of the tragic conflict and encounter between the free performance of the characters. Hegel, knows Antigone as the grand representative of civil awareness that cannot be appeared, except by individual freedom. For Hegel, freedom is will, on this condition that it wouldn´t be limited to anything and could be achieved whenever it has objective and subjective aspect. For him, freedom is the genuine nature of the soul that takes steps toward freedom in its dialectic path, and it achieves self-awareness and consequently, achieves its freedom necessity. The main issue in Hegel’s tragedy theory, is undoubtedly the self-awareness of Greek tragedy heroes. Hegel, knows tragedy as the reflection of self-awareness and a kind of freedom and historic act. In this paper, based on analytic-descriptive method, the Hegel’s viewpoint about the necessity of freedom in a hero like Antigone, is stated, and this question will be investigated ((how the freedom of tragic character is appeared in the Hegel tragedy theory?)). Undoubtedly, the necessity of freedom is the result of resolving a conflict; A conflict between a subjective and objective issue.

This essay trys to explain the role of “Young Iran’s Association” in cultural and social reformation of late Ghajars era and also Hasan Moghadam activities in this association that leads to the create and performing the play of “Jafar Khan has come from Europe”. After Constitutional Revolution and in line with modernism, so many associations and constitutions had been formed which their main goal was modern changes and reformations in Iran. In 1981 (1300 solar year) an association which called “Sorushe Danesh” had formed in Iran which its name later had been changed to “Young Iran”. This association included educated people and those with thoughts who believed that could reach to their goals usually in line with cultural and art and newspaper activities, and published their policies in a creed. Performing theater plays, publishing newspapers and articles, and also holding different conferences were their main activities. Attention to women’s rights and possibility of their education was among their viewpoints in a way that the association members knew it as one of their most important goals. Tehran’s and other Iranian cities destructions, severe class differences, poverty and adversity of people and workers and the lack of sufficient facilities for children and young adolescents’ education, had been mentioned as an important and serious concerns for Young Iran’s Association. On one hand people’s traditional culture and on the other hand criticizing the imitation of West culture, had turned to an essence for creating “Jafar Khan has come from Europe” play by Hasan Moghadam and Young Iran’s Association had performed this play in the hall of Tehran’s Grand Hotel. This performance had been welcomed strongly by the people and made this association and Hasan Mohadam more known and famous than ever and credited it as Tehran’s important open minded people association.The effects of that association in line with its chosen goals with holding seminars with upto- date subjects ,publishing articles and newspapers, performing successful plays such as ”Jafar Khan had came from Farang” that its name circulated among people and had received a very great criticism from valid press in those days ;had influenced on the society toward modernism; and not only had been attracted the open-minded and political people but also had been settled its place among the populace and could win them over itself.