نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 24 (بهار 1400)

The philosophy of Gills Deleuze provides to us an exuberant critical method to look deeper into the field of theater, because of its unique mixture of psychoanalysis, socio-economical critique, and basic aesthetic notions. However, this is the very reason that makes this philosophy so hard to understand. He is one the few modern philosophers who have developed a new ontology. In this article, we have focused on one of his most valuable concepts, Schizoanalysis, and attempted to use it in the field of theater studies. In their book, Anti-Oedipus Gills Deleuze and Philix Guattari introduce Schizoanalysis as a substitute for psychoanalysis. Schizoanalysis supposes Desire as the ultimate force that moves and changes the world. It is a critical method because instead of searching for the meaning of the human activities, it focuses on the deeper underlying structures that shape our unconsciousness and construct our subjectivity. For them, the subject itself is a product of desire, so instead of seeing an artwork as a manifestation of one's desire, we can say that the artist himself/herself is the real manifestation of the artistic desire. In other words, by using their approach, we can investigate the unconscious flows of desire within an artwork; regard it as a process of production and comprehend its Impersonal aspects. One of the outcomes of following this method is to deter from transcendent convictions and reach an immanent critique. Instead of historical and social norms for defining the quality of a specific theater, we can study its inner connections and flows of desire in a universal context.In this research, firstly we have surveyed the philosophical roots of Schizoanalysis in the thoughts of Deleuze and then tried to utilize it in the field of theater studies. In doing so, we have come upon a unique understanding of the non-representative theater. The theater of cruelty presented by Antonin Artaud is an example. One of the main aspects of Schizoanalysis is the way it deals with the notion of death. Deleuze and Guattari believe that Death is experienced unconsciously every day, and it is the reason that our flows of desire change and shift. The theater is a field that we can reshape these flows of desire and push them to the extremes, so when we face the idea of death in the theater, we confront the forces and intensities that makes it a universal concept instead of a mere dying of a hero on the stage. In other words, what are experienced in theatrical performances are the natural forces of life and death, which are applied to us every day. However, on the stage, they can be experienced on an impersonal level. Schizoanalysis is a way to decomposition an artwork to its desiring-machines, comprehend the way its flows of desire work and then reassemble it as a desire-product that can be consumed by the audience. In this article, we have presented the philosophical base necessary for this process and discussed it in detail regarding theatrical experiences.

“The Seven Deadly Sins of the Petty Bourgeoisie” Ballet is a narrative, epic, tragic and dialectical that uncovers the human reality in the apparently failed confrontation with the fate of the tragedy as reported by Lukach. The important point in this ballet-theater is the unification of the two genres of epic and tragedy in one unique work. In the next section, ballet-theater is analyzed from Benjamin viewpoint regarding the type of the dialectic in all three aspects of the work affected by Frankfurt School and of negative dialectic type. At last, the social-economic foundation of ballet is studied based on sacredness of the mundane labor of the protestants in the capitalistic society, and we will show that this conception of labor has two different functions in the journey of the character (as the objective) and in the tragedy (as the fate) Finally, we will actually get familiarized with the theatrical techniques of Brecht, such as spacing, catharsis elimination, the conflict between the player and the role, posing, fade off of the action and theme, etc.), in this ballet-theater.

The new wave of Iranian cinema was emerged from the growth of modernity and modernization of Iran and the world from the 1950s to the1970s. This current can be studied and analyzed as part of the modernization process in Iranian culture and art and under modern Iranian contemporary art. One way to study this relationship is to study the aesthetic and stylistic similarities between the new wave of Iranian cinema and the modern literary and artistic genres of contemporary Iran. The new wave of Iranian cinema covers a variety of stylistic and aesthetic practices. Various stylistic categories of filmmakers in this process can be applied based on the cultural and social context of the filmmaker's growth, social class, level of education, and the influence of cultural and literary currents of the time. This article first examines the common aesthetic tendencies in the mainstream and the pioneers of the new wave in the years (1959-1979). Then an analytical historical perspective examines the relationship between aesthetic and stylistic divisions in the new wave and its impact on the common aesthetic categories in modern Iranian literary and artistic currents from the decade (1950-1970) and discusses and concludes. According to the historical analysis and descriptive approach used in this paper, the research method of this paper can be considered as an analytical descriptive with a historical and sociological approach.

One of the postmodernism phenomena in a cultural realm is the appearance and proliferation of Pastiche. The investigation of the meaning and features of pastiche has nowadays become a major field of study in postmodernism. In cultural studies, pastiche has generally been studied in parallel with the definition of parody. From some perspectives, pastiche is derived from parody, but it conducts different features than it. Both of them employ the deconstruction of texts and benefit from their process and results which should be playful. They imitate from culture instead of nature although the mode is dramatically different. Most parodies establish irony to challenge ideas and attempt to prohibit of accomplishment of ideological systems of the ideas. Pastiche without irony and a challenging approach imitate and combine the elements of texts. The change of cultural logic provides the special condition for vast dominant usage of pastiche among most of the recent cultural products, including commercial cinema. There are different investigations about the causes and the results of pastiche, and as a result, some antithetical approaches to the definition of pastiche have been established by sociologists, philosophers, and artists. Among the similarities and differences in theories, some important questions have been raised to the mind; what are the major features of pastiche, and how much do they differentiate pastiche from its modernism roots, parody. How does Pastiche benefits from cultural logic’s changes in the postmodern era, and whether it, like parody, puts obstacles in the way of the conduction of the ideology of texts? To respond to these questions, at first, we attempted to define the meaning of pastiche via the juxtaposition of the antithetical theories and find the problems. Then, a comprehensive conclusion about the definition of pastiche could help us to accomplish a deductive method for examination of the results in a case study which was selected from commercial cinema. The method of gathering data is a bibliography. The case study belongs to popular cinema which could depict three eras of cinema: Classic, modern and postmodern cinema. We can observe cultural reproduction and the historical tendency among four issues of King Kong, including the issues of 1933, 1976, 2005, and 2017. Pastiche extends itself among the issues 2005 and 2017 strongly. The issue 1933 is a classic film which imitates the real world, but in later issues, previous texts become the origins for imitation by pastiche and even kitsch. According to Fredric Jameson’s theory, in the postmodern era, cultural logic has been changed and intensifies consumer culture, reducing the meaningfulness. The culture has been industrialized and produces cultural commodities. It makes satisfaction for the masses via pastiche which employs nostalgia by recalling different specific cultural memories or historical moments. As a consequence, the lack of referring to nature and self-referring of texts leads to aggregating the emptiness of context in the texts. Contrary to parody’s prohibition of the establishment of an idea via deconstructionism, pastiche conducts its specific ideological regime, until consumes what it produces, and then pastiche reproduces it continuously.

The concept of sadness is one of the main debates among Iranian musicians, and many have argued whether it exists in Iranian music or not and whether it should be praised or criticized. One of the first manifestations of this debate occurred in 1925 when Ali-Naqi Vaziri, in opening concerts of his musical club, lectured about some elements of Iranian music among which sadness was pointed out as being against the spirit of an industrial society and how it should be reformed. Vaziri’s lectures provoked many reactions among cultural figures the most challenging one was Aref Qazvini, a famous singer-songwriter. Aref severely criticized Vaziri for ignoring the fact that Iranian musical modes are not altogether sad and if it is the case sadness is the essence of Iranian music, and one cannot remove it from the rest of Iranian music. However, the formation of sadness debate in Iranian music rarely has been the subject of a sociological study and the issue rather has been taken up by Iranian musicians who try to define their positions than being analyzed based on a sociological outlook. This study, based on Bourdieu’s field theory which investigates social actors’ position takings in different fields of activity with their own special rules of conduct, puts the debate between Aref Qazvini and Ali-Naqi Vaziri under a sociological case study investigation and attempts to answer the question how sadness debate in Iranian music is related to sociological mechanisms. Data for this historical sociological study is collected from memoirs, lectures, articles, and notes of the two main actors in the field of Iranian music. When necessary, Data is analyzed using discourse analysis as suggested by Norman Fairclough’s discourse analysis. The results show that the formation of the sadness debate begins with the social differentiation of this era and is formulated in the Iranian music field according to the different positions and habitus of the field’s actors. The Social differentiation mechanism of this era which resulted in the autonomy of the field of Iranian music subjected Iranian music to a new artistic discourse based on which the feelings embedded in Iranian music should be investigated and reformulated according to the modern nation-state expediencies, and sadness was a much-debated issue in this discourse. On another level, i.e. in the field of Iranian music, the issue of sadness was a pretext for position takings of different actors. Whether they were inclined toward the cultural pole of the field, which emphasized the artistic rules of musical compositions, or the economic pole, which relied upon the audience’s taste, they formulated the concept of sadness as they attempted to legitimize their strategy in the field. Therefore, Vaziri regarded sadness as an element non-congruent with an industrial society that should be reformed using western musical technics, and Aref emphasized the common language that is provided by such elements as the sadness of Iranian music. Aref used this language to communicate with the Iranian music audience which in-field analysis means the economic pole of the field, while Vaziri was acting toward the cultural pole.

The harmonic approach of Persian composers’ who apply folk or court music of Iran is controversial. There are several approaches to polyphony and harmony. It seems that Mohammad Reza Darvishican make a new way of applying folk themes. The main problem with harmonic textures, in using these modes, is the problem of coherence in the piece. In other words, the question is that how we can use a harmonic or polyphonic approach in a context with folk themes? And how modal features of a mode like intervallic structure, patterns, and the function of degrees in a modal can be demonstrated in a polyphonic or harmonic texture? It is assumed that there is a relationship between modal structure and harmony in Darvishi’s pieces, and we attempt to discover this relationship. To be more specific, how does he treat the modal features, and how he has used Iranian music in a modern context? To achieve this aim, one of his works is selected to explore the relationship. “Five pieces for Piano” has been analyzed using Forte’s method. From this point of view, the pieces mainly revolve around cells 3-4 and their variations. However, other different elements are used besides this cell. The current cell is the intervallic structure in Dashti mode and is frequently used in other pieces of the composer. It can be said that the main reason for this choice is his interest in Dashti’s intervallic structure. However, motives also demonstrate the relationship to Persian music. Other cells which can be seen in pieces are intervallic structures of other modes like Chahargah. In some parts of the piece, polychords are used based on the combination of these cells. For instance, in the third sections’ polychords at the beginning part is the combination of Isfahan mode and Dashti. In other words, each chord of the piece is the characteristic interval and degree of a mode. This approach is like Bartok, Stravinsky, and Schnittke. These composers for making their polychords and clusters have tried to use tonal elements which are of high importance in their pieces. As a case in point, Schnittke has made clusters by using triads with common thirds (for instance: C major- C sharp minor), but Darvishi has used chords with modal characteristics to make his clusters. Also, there are some differences between Bartok’s polymodal chromatism and that of Darvishi. Bartok has used different modes on the same tonic for creating a full chromatic context (E Phrygian and E Lydian, for instance) and found a role for each tone in the twelve-tone scale. Nevertheless, Drvishi’s role is not chromatism and tries to use different modes in different tonalities. Sometimes, the result is similar to the works of Bartok. It can be said that Darvishi introduces different modes through chords which include the characteristic of modes and their intervallic structure. Each chord relates to a specific mode.

Interpretation is an extremely complicated theme in musical performance and is influenced by many factors. The notes on the paper indicate sounds in the composer's mind, but they do not represent authentic sounds. In other words, the score does not sound by itself! Converting a composer's score to musical sounds includes a complex process full of dark points which should be discovered during the score studying and before rehearsals begin. In a musical performance, not only the written notes but also the not written parts between the notes are played by the musicians. Therefore, a musician must learn all the score details and be properly prepared for all of them and also have a clear image of the sound that he wants. Of course, to achieve the desired interpretation in a performance, it is necessary to learn the orchestral score exactly, but definitely, it is not enough. For this purpose, the performer needs to pay close attention to all of the details written by the composer, also to be able to discover the unwritten things in the work to reach a clear musical imagination to provide a fine interpretation in performance. This article, by mentioning some aspects of score studying and citing examples shows how the additional information relates to the conductors’ musical ideas and helps them understand and prepare the piece. The question is how can a performer find a way to discover deeper layers between the notes in a score and understand the piece on a deeper level? How to approach the unwritten part between written notes in the orchestral full score? Which further information could be helpful and how can they be obtained? The purpose of this article is not to analyze the piece, but to specifically respond to the above questions by focusing on Igor Stravinsky's Ballet “Petrouchka”. To this end, the full score of Petrouchka, other pieces and writings by the composer, alongside various researches about the composer and his works have been studied. The author has used his experiences in conducting and score study to find the relationship between the supplementary information and how score details can be understood. This article seeks to find ways to approach the content of the score by citing examples from the composer's various works and examining other information about his musical ideas. It should be noted that as no two works are alike, how the musicians approach the content of the work is not quite the same.Ultimately, this article will show how a better understanding of the content of a work, which is undeniably necessary for achieving the desired performance, can be reached by using additional information.