نشریه تئاتر
سال هشتم شماره 86 (پاییز 1400)

Theater is an experience of performance that its fields of representation and creativity have always been considered according to the cognitive, educational and training needs of children. Explaining the four stages in his cognitive-developmental theory, Jean Piaget deals with how the individual emerges from sensory-motor activities to excellent intuitive activities with social life, rational thought, and reasoning operations. One of the salient features of the second stage of development as a pre-operational period (2to 7years) is the evolution of representational forms and the acceleration of conceptualization with pre-logical or quasi-logical reasoning, which can be done by children’s theater, and taking advantage from each of the elements of the performance, including the theatrical perspective and presenting images appropriate to this stage. This article seeks to answer the fundamental question of how the perceptual principles and components influencing the design of a play in children’s theater performance can bring to attention and influence children’s perception of space and place, based on their basic mindsets and mindsets based on spatial experience. The present qualitative research, based on library resources and reputable websites, considers the perceptual aspects of the relationship between the audience and the play to explore the components affecting perception and visual communication and mental interaction in the children’s Theater scenography, examining the Walt Disney Company’s executive model, and provides an effective model for analyzing the plays of this age group, arguing that recognizing the perceptual powers and how the child mentally interacts with the phenomenon of place and its components in performance, will lead to the internalization of the subject, story and concepts and will be the basis for externalization and creativity.

In this article, while focusing on the three areas of theater as the ancient mass media, the marketing concepts and the capability of modern social networks, the researchers have studied the “theater marketing strategies using the capabilities of social networks in Tehran.”. The phenomenon of theater enjoys a public and communicative identity. Changing lifestyles, births, needs, and fundamental transformations in business relationship demonstrate the conscious institutionalization of theater, taking advantage of the vast capacity of group networks and the acceptable power of the performing arts, to achieve the desired model in the field of modern marketing. Accordingly, the main questions of this research are the following questions: What are the components of the marketing model for theater due to social networks? What is the current state of the theater and its markets? What are its strengths and weaknesses? And what are the opportunities and threats to this potential market? This research is based on the method of strategic analysis, elite or SWOT (SWOT), knowledge of internal and external points, purposeful sampling method, and the sample size of 40 experts, by validating the research tool (questionnaire) through Cronbach’s alpha in the environment. Software (SPSS) has been reviewed. Also, according to the typology of the surrounding environment and drawing the current and desired situation, from the distance technique; SPACE evaluates the situation and selects the optimal strategies. Findings show that the preferred model that is recommended by using social networking capabilities for theater marketing is a model based on SO strategies or offensive strategies to be able to take advantage of internal strengths and opportunities. Foreign events have achieved maximum success in the market.

This article is explained the position of Hamartia in the relationship between the theory of tragedy (in the treatise of Poetics) and the philosophy of ethics (in the treatise of Nicomachean ethics) by Aristotle. In Nicomachean ethics, Hamartia is a selective act in which the middle ground is not observed. Poetics also deals with the characteristics of a kind of Hamartia in the sense of a kind of moral error committed by the hero of a tragedy. This research has answered the questions that, first of all, what is the relation between Hamartia and the changes of fortune that occur under the urgency of depriving the outside good for the hero of the tragedy, in Poetics and Nicomachean ethics. Secondly, in Poetics and in relation to Nicomachean ethics, how does Hamartia resolve the contradiction between the selective activity of the tragedy hero by depriving him of external goodness, and thirdly, how tragic Hamartia can, in relation to Nicomachean ethics, resolve the contradiction between different chapters of poetry (especially the chapter Thirteenth and fourteenth) about the superior type of tragedy? The conclusion of the article shows that tragic hamartia is a type of hamartia in which the hero commits a selective act in which the middle ground is not observed or refuses to do so on the verge of committing this act. But in both cases, because the action is due to a virtuous hero who has committed it in an atmosphere of urgency due to the deprivation of external goodness, or has been on the verge of committing it, although his action may take him away from the path of happiness for a while, it does not reject the principle of his virtue. This research is a qualitative research of descriptive-analytical type and has used library data for its collection of descriptions and analyses.

In the following research the author tries to study the power relations and the relationship among the characters of night on the wet pavemen_ a play by Akbar Radi_, the story of the play and the available discourses, specifically by basing critical discourse analysis according to ideological terms and theories of power. The researcher attempts to identify the tools, facilities, and capabilities through which the superior discourse was able to advance the situation according to its wishes and options, as well as the reasons why the inferior discourse lacked those facilities, and to determine under what circumstances it was forced to obey the ongoing circumstance, by analysis of the present discourses in the play. In the next step, the change of personality from a superior to lower position and vice versa from the perspective of discourse change is measured and explored. Finally, since the narration of night on the wet pavement has been chosen based on early years after Iran’s revolution, the effect of events and social changes in night on the wet pavement on upper and lower people, changing their circumstances and also leading the narrative has been investigated by Radi during the play. In this study the research method is fundamental in the point of goal and has been done in library style with analytic - descriptive in argument of analogy.

Kant’s third critique’s emphasis is on the analysis of the beautiful, individuality of the subject along with the possibility of aesthetic judgement’s universality. On the one hand, Kant considers the attainment of universal validity favorable in two essential forms of pleasure and attention, and on the other hand, deems the issue of collectivity significant for the theme of individualism as universal validity is necessary for aesthetic judgement , it is therefore possible to envision two different outlooks for individuality in the third critique; one in which the necessity addresses its foundation and the other in which its structure is to be based on the necessity of pleasure. The evolution of this course in classical and modern literature will be studied. What constitutes the classical literature is the necessity of attention and what embraces modern literature is the necessity of pleasure and both necessities are rooted in individuality. The very essence of the necessity of attention is the sacred and religious beliefs and the root of the necessity of pleasure is aesthetics. Phaedra kills himself in Hippolytus’ play because he intends to take the pleasure of the gods with him by relying on religious belief. In the struggle with this death, Phaedra kills himself in the play of Phaedra’s love to take revenge on Hippolytus. In other words, the first place is suicide for the satisfaction of heaven and the second place is suicide for one’s own satisfaction. Basically, the movement of theatrical characters from the ownership of the body for the gods to the ownership of the body for itself is rooted in the issue of individualism; It is enough that the word suicide has never entered the dictionary since the era of Romanticism. Thus, the analogy between the death of the classical Phaedra and the death of the modern Phaedra is under the banner of aesthetic and religious necessities, which find their roots in Kant’s third critique. The first has a religious death and the second an aesthetic death. This evolution and sum of all these topics can form the structure of this research. Where man chooses himself at the crossroads of his choice and the gods.

Environmental and identity issues are among the most prominent problems of the 21 century. Some of the environmental problems are global warming, excessive consumption of plastic, lack of observance of green architecture principles in the construction of buildings, inappropriate trash disposal, desertification, deforestation, pollution of freshwater, etc. Moreover Humans suffer from issues much deeper than exploitation, namely not belonging to a collective identity; by way of example, forgetting the neighborhood identity, no heed to the peace culture and cultivating environmental intelligence. In this research, an attempt has been made to eventually achieve practical solutions by providing executive methods of green theatre in urban and rural spaces. This study might hopefully help raise citizens’ awareness of environmental facts in various ecosystems that are investigated in Green Theatre. Green Theatre in urban space (in theatre buildings) and in rural space (through indigenous rituals) places particular emphasis on a deeper understanding of local and indigenous identity. This research is aimed at improving citizens’ awareness of the neighborhood identity, living ethics, environmental intelligence, thinking of greenness in various ecosystems through practices and concepts of green theatre and applied theatre. Green theatre is performed with the aim of reforming ecological approaches, improving environmental intelligence, bioethics and a culture of peace in public societies (citizens and officials) in order to take decisive, firm and lasting steps towards a culture of peace, human, rural and sustainable development.