نشریه تئاتر
سال هشتم شماره 87 (زمستان 1400)

In addition to Heinrich von Kleist›s famous article on the Marionette Theater, the author discusses the duality of human and inhuman. He states that the doll does not know gravity, so it has no point of contact with the earth and is therefore free, but on the contrary, man is dependent on gravity and is unable to escape it. Here he uses the protesting phrase: «Unless these threads are discovered by someone, and then the path of the dancing soul will be found;» In the sense that the result of this discovery and awareness is the dancing of man himself and the non-dancing of another. Kleist›s dream logic even places the doll in the category of a moving being who can transfer his energy to the conductor )or dancer(. In this article, we examine the transcendence of contemporary man from his nature, based on Kleist›s idea based on the difference between restlessness in dolls and humans. In this phenomenological study, we use Husserl›s views to navigate the concept of «innocence» and Lyotard›s views to navigate the concept of «ignorance»; Concepts that, by crossing the «temporal composition», provide the ground for the cultivation of the soul, and at the same time, relying on the concept of «incompatibility», create a new definition of human opposition to their socio-political relations. But all these philosophical ideas originate from the mystery of the description of the puppetry›s technical movements, and the puppet›s relationship to man as its exemplary moderator, called the dancer by Kleist, will be the subject of this contemporary study. Thus, most of this article deals with the type of relationship )dancer( with the doll and we find the starting point of the doll›s restless thinking; We then turn from this category to the analysis of the concept of transcendence of reason and logic, of which Clist and Lyotard have spoken in human nature.

Foucalt sees the social background of context as an environment that the power relations or intractions are incessantly counteracting and contradicting one another. Such relations according to Foucault include restriction, erosion and dominance and would never reach anywhere and will be replaced by the new dominance. Moreover, From the point of view of Foucault, resistance is an inevitable part of power relations. Foucault ,in the article «subject and power « has elucidated his objective from power analysis and ultimately Dreyfus and Rabinow have presented a theory and Mercure also confirmed and verified it. They believed that the objective and goal of Foucault from the elucidation of power analysis is learning the method of it›s function , not making a theory of power. He was willing to study the context in which power relations form or are involved in it›s formation and the tools by which power is wielded. For Foucault has been very important to learn and reveal the network of relations behind the rules and the works of the political philosophers. These works are more after displaying how the power divulges or reveals itself. While Foucault believed that power is dominated logically not on the objects but on free subjects and it is wielded as long as until they are free. The goal of this research is presenting the representation of this concept and its pertinent rules and regulations . The social atmosphere and the characters of three plays ,The letter and way of facing these characters with the mentioned power are the instances and cases of the Foucault›s power have been studied. After collecting the cases and instances of these concept , the rules and conditions of the flow of this mentioned power and the hierarchy and the necessary reactions of that analysis are mentioned in three tables finally.The result of this research shows that among these two types of power , one is traditional and the other one more a modern type that are in harmony with the theory of power by Foucault. The three dramas of Akbar Radi and their social atmosphere are correspond with the view of the Foucault on power.

After a huge success of Beast and Beauty production, Disney company desided to act as a Theatre company as well as of a film company. So in 1994, and for the first time, Beauty and the Beast was produced for stage and caused a vast revolutionary atmosphere in Megamusicals of Broeadway. During next three decades, Disney Theatre Group has adapted many animation into stage productions and at the top of them is the best-selling show in history, the Lion King. Based on the success of Disney animations on Broadway, the research aims to examine the potential of animation in the process of this adaptation by analyzing successful theater-animations. Thus, the authors with a qualitative approach and descriptive-analytical method by studying various sources and reviewing Disney plays and animations reached eight capacities of animations for adaptation in stage theater. Capabilities such as pre-guaranteed storytelling in maximizing sales of child and adult audiences, character transformations, special scene design, enduring and popular songs are the main features of an animation for theater adaptation. In addition to these, better sales of theater by-products and their popularity in schools, as well as attracting various tourists to the region, are among the ancillary capacities in adapting theater from animation. The animations provided great capacity for adaptation in the theater. Capacities that can be well pursued, created and upgraded in our country, Iran, despite successful and best-selling animations at the box office. The popularity of these animations among children and their audiences can well pave the way for the adaptation of animation in the country›s theater. A path that reconciles more children and their families with the theater and creates successful and glorious musical theater with a local feel based on local animations.

The present article, which has a qualitative and descriptive- analytical method, has used the liberal theories of feminists to explain the gender relations of the characters in Lear›s play. The central axis of liberal feminism is the full equality of women and men and the enjoyment of women›s political and social rights. According to liberal feminists, a society should be created in which nothing and nothing belongs to a particular gender and in which all social opportunities are equal for men and women. Gender is a tool that allows us to focus on the relationships between ourselves and others, culture and society, social, symbolic or representational dimensions. Our goal in the study is to see if gender-sensitive reading can be done in Lear Band. In this regard, the research will seek to answer the question of what changes the band has made in the plot and what technique has been used to apply the changes compared to the previous version? A reading of the band›s «Lear» play from a liberal feminist perspective reveals that the band places more emphasis on humanity and its aspects, and instead of highlighting the feminine and masculine characteristics of a person that are ancillary. He has insisted on the humanity of these two sexes and has recognized individuality and independence in the three female characters of Buddhism, Fontanelle and Cordelia. Also, in this way, the gang has clarified gender relations in a favorable way by using the technique of de-acquaintance, alienation and alienation from Shakespeare›s King Lear. If Shakespeare turns everything around the royal family, instead he speaks of the working-class gang, the disregard for their rights, women›s rights, the persecution of women and girls, and class differences. The results show that the category of identity is defined according to the actions and behaviors of the characters and the characters, despite their gender, have found a different identity and a different gender.

Messianism and waiting for the Messiah are deep rooted notions in the history of beliefs. These notions were accepted among Iranians even before their conversion to Islam. But through time and ages, the notion has changed and particularly regarding the social-political context, it has been received differently. In this essay we examine these recent changes in Messianism and how the recent notion has obvious relation with the social-political situation. Then we will read two plays of Gholamhossein Saedi with observing this notion in them. Therefore, examining the social-political situation of Iran, after the notorious Coup of 1953, in 1960’s has essential part in our essay and we will show how the Notion of Munji [Messiah] has changed through this critical time. After that, regarding Fromm’s definition of hope and Messianism, the Messianic and Utopian notion will be examined in Stick holders in Varazil_Choob beh Dasthaye Varazil and The best father in the world_Behtarin Bababye Donya.

Distancing or alienation that forms the basis of epic theater is actually using actions or reactions by the actors or the crew that are done deliberately to prevent the audience from identifying with the characters of the story and emotionally being engaged in events and divert their beliefs from the reality of what they watch on stage. This is done with this aim that the viewers are not losing their awareness of the current situation and putting them through thinking and reasoning about the hidden message of the play. But Is distancing with such an approach and goal used in Taziyeh? Isn’t the audience supposed to identify with the epic characters in Taziyeh? Is the sacred distance of the epic characters in Taziyeh with the audience an obstacle for identification? There is a basic difference between distancing in Taziyeh and distancing in epic theater. Like the epic theater actors, Taziyeh actors never equate themselves with the roles. But the main point which distinguishes this type of distancing with the Brechtian one is the difference in the aim and meaning of the form. In fact, Brecht uses this alienation for diverting the audiences’ emotion and to awaken their mind and judgment, but Taziyeh has nothing to do with Brecht-type rationality, and as it focuses on rational thought and concepts, it seeks to arouse emotions as well. Alienation in Taziyeh occurs only because Taziyeh performers never consider themselves that qualified and worthy for the role of saints _ protagonists_, and if they get the villains _the antagonists_ roles, they believe they are eternally cursed. In fact, the alienation and distancing of the performer with the role similar to the role is completely rooted in religion. While the alienation of epic theatre is rational and revolutionary. Distancing is one of the reasons for Taziyeh attractiveness and it causes the expansion and permanence of this national and religious play among people. Unlike West theater, Taziyeh subject is not from the real life and ordinary people, but the themes and characters do not allow the writer, director and performers to think of making the play seem real and natural; So that in Taziyeh, the distance between Karbala event and what is shown, and the distance between the roles _Imams and the Infallibles_ and the performers is always clear. But what causes this separation and distance in Taziyeh is the religious belief of the writer, director, performer and in general all the involved people.