نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 26 (پاییز 1400)

Sarah Kane is a British dramatist who appears to experience the advent of British drama writing. She has written five plays, each of which presents new features and deconstruction. Kane criticizes the world of contemporary violence with a taboo and censorship of violence, and the characters of her work are basically full of the complexity and hatred that the world has imposed on them. To analyze Kane's work, this study has selected Jacques Lacan's psychoanalytic look. Lacan did not integrate a person's identity and defined three imaginary, symbolic and real dimensions for identity. The first area that man experiences is the symbolic sphere defined by the mirror stage, and the narcissism stage is directly related to it. The next dimension of the symbolic domain, which at this stage is the subject with fundamental concepts, such as the Oedipal complex, the name of the father, and to form his identity, they have to leave them intact; the last is the field, which contains concepts such as trauma and jouissance. The data collection in this research is a library. This research, employing a descriptive-analytic method, concludes that Kane's works can be viewed with Lacan's psychoanalysis, and, specifically, the three areas he considered for identity were analyzed.

Abbas Nalbandian, a modernist, surpassed the classical dramatic features in his plays by providing distinct form and structure, empowered the experimental writing in Iranian drama. Nalbandian wrote his play Gheseh-e- Gharib-e- Safar-e- Shad… (1973) in his mid-career and in which he utilized distinct and prominent narrative features (including but not limited to combined/multiple points of view and flexibility of time and location). In this research, despite of situating Nalbandian’s works in a chained sequence, we examine the experimental aspects of his themes and narrative style in the aforementioned play. By drawing from Gérard Genette’s theory of narrative, we explore the narrative time and focalization features in this text, and we depict how Nalbandian put the subject of death at the core of the play for the sake of dramatic expression of the temporal and narrative structure. Nalbandian in Gheseh-e- Gharib-e- Safar-e- Shad… develops his narrative from a focused point with the bases in characters and goes beyond it to a point where dramatic features with multiple narratives are set. In this process, each feature as a vehicle for focalization has a role to convey a part of the narrative and without emphasizing a sole character, each individual as a part of a whole plays his role in the development of a central situation as a human’s confrontation with death. In this dramatic technique, because of the exertion of various idiosyncrasies by focalizing features, the issue of death will be explored from different angles and leads to polyphony in the play which is a modern characteristic of literature.

Flaneurie is an innate component of readings on modern urban life which has come to the heart of critical discourses owing to the writings of Charles Baudelaire in the nineteenth century and the works of Walter Benjamin in the twentieth century. Since the 1990s, new perusals of the flaneur have made it yet again an appealing concept in academic studies which is modernized through blending with the recent subjects and is no longer confined to Europe. This dissertation begins its arguments by iterating Baudelaire's narration of the flaneur. After going over Benjamin's notes on flaneurie and a brief description of Iran's society and cinema concerning urbanism and modernity, the presentment of Benjamin's flaneur in Iranian works of cinema from 1990 to 2017 is specified. To do so, the evaluated films belong to pseudo-genres like “urban films”, “street films” and “social films. “This research assays the embodiment of Benjamin's flaneur as the characters of films and with a statistical view it can be said that although what is known as the “flaneur” by the Iranian film critics has similarities to that of Benjamin’s, they're fundamentally distinct; distinctions that based on the means of production, censorship, pre-revolution cinematic movements, and the Iranian modernity in a broad view. These differences make it necessary to construct a new definition of the flaneur to separate it from the ideal type of it, a definition which is upon the common qualities and motifs of said films. This definition of the cinematic flaneur is an attempt to demonstrate that Benjamin's vision of flaneurie is absent in the Iranian cinema except for some rare occasions and that the film critics and filmmakers, for years with an inaccurate terminology and an askew hermeneutics of this tremendous concept, have turned it into a conserve and dissimilar matter.

In this paper, the main primary goal is to study the spatiotemporality and the stratigraphy of the Karbala space in the movies "The Fateful Day", "Karbala" and "Never" based on the principles of Geocriticism. One of the concerns of postmodern man is space and place. We demand a scientific approach to study space. Geocriticism represent an interdisciplinary approach to study the geographic space in literature and art and it Surveys the relations between humans, literature, and art spaces. Bertrand Westphal published his paper under the title "geographic approach to the Literary Text" ("Pour une approache géocritique des textes") for the first time in 2000 and his book under the title "La Géocritique; Réel, fiction, espace" was published in 2007. These are considered the manifesto of geocritisime. Geocriticism pays attention to the multifocalisation of a single space due to the points of view between endogenous, exogenous and allogenous. Transgressive is one of the concepts that lead to the several interpretations of the spatial layers and it has been achieved by multifocalisation. So, by taking a geocritical perspective it has designated a plural point of view, located at the crossroad of distinct representations. Also, the audience comes closer to the essential identity of the referenced space. In this paper, the movies (emphasizing the elements of space and place) have been selected from among movies that deal with the subject of Karbala. Additionally, considering the various points of view of the directors, their convergences and differences will be unfolded. In addition, while discovering the space-time layers of Karbala; it pays attention to the thoughts governing the Karbala space descriptor.The researchers have looked to reading out if the movies have drawn out the space-time layers forming the city? Moreover, what pictures of a single space have been represented? What is the relationship between the reality of space and its representation? In this paper, employing the descriptive-analytical method and with library sources and documentary information gathering techniques, the samples will be studied. The results indicate that the interest of the director with an endogenous point of view at Karbala space has been led to drawing space-time layers of Karbala Space, depicting these layers as an identity-making layers and drawning out them from the depths of forgetfulness. Meanwhile studying the favorite movies, because of different points of view, some of the space-time layers were revealed that form Karbala city. Also, it was discovered that there is a significant relationship between the sense of place and cultural and social identity. Therefore, the Muslim director has considered the Shrine of Imam Hussein (PBUH) as one of the layers of the city and an identity-making place. While the space-time layers are not important for the exogenous point of view of the non-Muslim director and the space is considered an"other" space for him. Today, Karbala has received a lot of attention from both Muslims (both Shiites and Sunnis) and non-Muslims. Therefore, knowing Karbala space and its capacities is crucially important, and it has not been paid attention to so far.

Interpretation is a very 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 are not still real 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 begins. 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 well 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 elements in the work to reach a clear musical imagination to provide a fine interpretation in performance. These articles, by mentioning some aspects of the score studying and citing examples shows how the additional information relates to the conductor’s musical ideas and helps them understand and prepare the piece. The question is how can a performer discover 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 practical and how can they be obtained? The purpose of this article is not to analyze the piece, but to specifically answer the prior 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 employed his experiences in conducting and score studying to recognize the relationship between the supplemental information and how score details can be understood. This article seeks to discover 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.Finally, this article will indicate how a more thorough understanding of the content of an undeniably necessary work for achieving the desired performance, can be reached by employing additional information.

This article aims to recognize the diasporic musical culture of Iranian Kurds living in Sweden, in which the function of music in that community is examined, as well as the process of their musical acculturation would be analyzed. To achieve the objectives of the present research, these investigations are based on the theories of William Safran’s “diaspora”, Judah Cohen’s “interdiaspora”, and Mervyn McLean’s four classifications of the process of musical “acculturation.” In this study, considering their countries of origin, the Kurdish community in Sweden has been divided into four different diasporic groups, such as the Kurdish diasporic community of Iran, Syria, Turkey, and Iraq. In addition to the above stratification, another division has been developed between the diasporic community of the Iranian Kurds domiciled in Sweden and the musicians belonging to this group, according to which the Iranian Kurds are grouped into first, second, third generations and musicians who have immigrated to Sweden in the last two decades. After adopting the findings of the fieldwork to these theories, it will be comprehensible that both musicians in the diaspora and their audiences have always used music as a mechanism to redefine identity, represent the former homeland, and relocate to new geography. Thus, one of the functions of music amongst Kurds in Sweden has been to redefine “ethnic-cultural” identity, to form a kind of “homeland” made of music, and to create a kind of “diasporic intimacy” in Sweden. Furthermore, studies on the process of the musical interactions of Iranian Kurds living in Sweden show that in the face of different musical cultures in the social context of Sweden they have encountered a phenomenon called “acculturation.” In encounters each of these cultures, the results of acculturation process enjoyed diverse states. Eventually, the outcome of the various states involved in the process of the acculturation is the major changes have taken place in the intervals, form, instruments, texture, and structure of Kurdish music to the point that these changes have contributed to the emergence of new genres in the Kurdish diasporic music.

Modal changes in Iranian music are dependent on specific criteria derived from Radif. Gonbade Mina, a work written by Parviz Meshkatian and arranged by Mohammad Reza Darvishi, goes beyond these criteria. In this work, modulations have been done from the origin mode of the piece (Dashti) to purposes other than the purposes specified in the Radif. These modal changes are tied to the concepts of alteration and Motaghayer because both concepts are implemented in the modulation process, in addition to their other uses. Therefore, one of the aims of this research is to analyze the concept of alteration and Motaghayer in the mentioned work as a way to modulate with new methods. In addition to modal changes, Harmony has also been studied in the Gonbade Mina. The use of dissonance intervals for the stable degrees of Dashti mode, such as Shahed, which is contrary to the approaches offered to harmonize Iranian Modes, such as Farhad Fakhreddini or Ali Ghamsari, is examined. This research opens the way for presenting a new harmonic view concerning the Dashti mode, i.e. the mode of the mentioned work, which has two fundamental characteristics. The first feature is to use the sets (015) and (016) as the main chords of the Shahed and Khatemeh and to assign other Pitch-Class sets for other modes’ degrees. The second feature is the use of two diverse cardinals for different degrees of a mode: trichord and tetrachord. Trichords are used for more stable degrees of a mode such as Shahed, Khatemeh, and first and tetrachords are used for other degrees of a mode and modulations. For example, using (0358) for the upper third of the Shahed. The third aspect of this research focuses on the intervals employed to achieve the contrapuntal textures without altering the Dashti mode. The result is the major second and the minor and major third in the form of compound intervals, the minor and major sixth, and the octave, used systematically at different Gushes. The research method in this research is a library study and the harmonic analysis of this work is based on the theory of sets.