نشریه رهپویه هنرهای نمایشی
پیاپی 1 (پاییز 1400)

Over the past few decades, the global crisis, despite numerous world and regional wars, the construction of deadly and advanced weapons, backwardness, poverty, famine, natural disasters, environmental obstacle and the terrible phenomenon of terrorism has led to migration and asylum to find a safe place to live. This article reviews the concept of cosmopolitanism, along with the basic aspects of this concept and analyzes its relevancy with other concepts such as global citizenship, perpetual peace and tolerance, immigration, violence and forgiveness that underlie the development of the concept of cosmopolitanism. The idea of cosmopolitanism means that all the countries of the world are one country and all the citizens of these countries are in fact one nation and are compatriots. In order to analyze this issue, after examining the concepts and history of this idea, starting from the perspective of perpetual peace and Kant's essay “Idea for a Universal History with a Cosmopolitan Purpose” we deal with the category of war and peace from an unknown perspective and examine the cosmopolitan ideal and the concept of a global citizenship. In the following, based on the views of Arjun Appadurai we examine the global flows. Finally, with a look at Jacques Derrida's book “On Cosmopolitanism and Forgiveness” we realize about cruelty and genocide of nations throughout history and we are introduced to the concept of peace, the value of human dignity and forgiveness. In order to clarify this approach, we are analyzed two movies, Le Havre directed by Aki Kaurismäki and Code Unknown directed by Michael Haneke. Finally, the conclusion of this essay, including the general analysis of the films. In Aki Kaurismäki`s movie Le Havre, according to Appadurai's theories, we examined minorities in the globalized world. We also explained Appadurai's terms "globalization of the people" or "globalization from below", which is an important concept in Le Havre. We then talked about the theories of cosmopolitanism and global citizenship, and Kant's reference to the right to an urban world and its approach were examined in the movie. Forgiveness and the issue of Derrida immigration and asylum are other points that were mentioned in this film. In Michael Hanekes movie Code Unknown, we addressed the issue of violence and examined Appadurai's approach to the globalization of violence. Minority and majority who have been or are being abused. Then came the idea of Kant's cosmopolitanism and refugee cities.

In dramatic literature, dialogue as the basis of the play includes the verbal interaction of the dramatic characters (either in the form of the conversations of the characters with each other, or a one-sided form i.e. monologue). An effective dialogue pursues at least one of the following goals: introducing the place, introducing the time, introducing the character, giving information or advancing the story. Aiming to find various and desirable solutions to write more creative and higher quality plays, in this research, with a descriptive-analytical method and using documentary-library sources and reputable internet sites, efforts are made to examine the dialogue in the L’envers du décor by Florian Zeller, on the basis on the concept of “distance” posed by Gerard Genet in his theory of narratology. It is hoped that we will be able to explain the effect of different types of expression (direct speech, free direct speech, indirect speech, free indirect speech) on dialogue writing and characterization. In this regard, by proposing the hypothesis that this play provides a suitable basis for the study of distance and different types of expression in Ge net’s theory of narratology, first the main framework of this research is briefly examined. Then the concept of distance and types of expression in the framework of Genet's narrative is expalined, and by showing how the types of expression are reflected in the play, the effect of types of expression in Genet's theory of narratology on dialogue writing and characterization will be expressed

In recent years, subcultures of the sixƟes have been considered by cultural scholars and sociologists. A decade that is considered an important decade in the contemporary history of Iran due to its important historical and social events. In the meanƟme, and in line with cultural producƟons with the themes and themes of this decade, a series of comedy films have emerged in Iranian cinema of the nineƟes, focusing on the parody representaƟon of the subcultures of this decade and using their common elements and codes to Establish an effecƟve and acceptable audience; The claim that the popularity and high sales of these films are confirmed. Therefore, the menƟoned works have provided a suitable plaƞorm for studying subcultures and reflecƟng on why and how this parodic reading. This study in the social analysis of subcultures first uses the view of Dick Hebdage and then uses the views of Linda Hutchen in parody studies and the cinemaƟc division of Dan Harries in relaƟon to different types of parodies. In this research, we try to focus on the semanƟc levels of these works and use the historical contexts and visual elements of subcultures; Address the characterisƟcs of this parody view. The research seeks to show how filmmakers’ conscious adopƟon of parvik representaƟon has enabled filmmakers to criƟcally read the subcultures of this decade.

On December 12, 2015, the convention of climate change of 200 nations in 21th party for investigating climate changes (CCOP21) in Morocco agreed to work out their previous agreement as called Paris agreement about preventing raising 2 degrees, the deal that Donald Trump, who won the US presidential election , has repeatedly said during his campaign that he will tear the agreement paper because of heavy taxation will not allow US taxpayers to bear the cost of UN climate projects . A promise came true with getting out the treaty after winning. It is clearly showing a structural conflict between the capitalist system and the interests of the international community. And it emphasizes the importance of environmental conservation activities as a key area for the struggle for survival on earth. On the other hand capitalism influence and development, open industries, vast using natural sources and growth of consumerism phenomenon that is unavoidable result of capitalism. And comply with it individualism development as a broad phenomenon of today world , and consequently our country faces with the damages the environment . They are serious threat to nature, all the living creatures and mankind, because of that they have become a serious subject in theater.  A cursory glance at the theater history proves that Art has always paid attention to the social problems. In contemporary , among the variation kinds and forms of theater , street theater , because of its educational aspects and due to inseparable relationship with social issues , having root in the performance location, have been more active in proposing social questions . Iranian theater is not exception in this base. For this reason in recent years theater activists in two areas of child and adolescent theater and street theater have produced some works in this relation in our country. Reviewing the works from the perspective sociological can lead to more recognition from the depths of Iranian Artists Theater and researchers’ perceptions global and national dilemma and assessment suggested solution to stand with harms.While street theater is essentially a sub-theater of practical and it deals with popular audiences and non-professional alike, it seems research on how this problem is reflected in theater and how to deal with it more appropriately than other theater styles.This descriptive analytical research clarifies this issue by investigation the examples of works produced in this context, some of the nominees at 90s street theater festivals in Iran . The obtained results express this point that theater activists understanding about the problem were more low level and the suggested solutions is limited to promote official recommendation and governmental organizations. They have main role by promotion and capitalism consolidation without paying attention to consequences of abnormal operation from natural resources

Since the film is a representation that produces and reproduces various meanings, it inevitably has a close relationship with various issues such as politics, economics, culture, family, society, and so on. This study aims to first explain the concept of representation in the field of power, culture and language, and then to use Stuart Hall's theories and his applied strategies to examine how the Afghan people are represented in post-revolutionary Iranian cinema. With the help of Stuart Hall-specific patterns and the method of analyzing the structure of Keith Selby and Ron Cowdery, we try to examine the Afghan characters that appear in each film as the main role, and through representational strategies such as stereotyping, naturalization and highlighting, film. Based on the main research question; In terms of how the Afghan people are represented in Iranian cinema, research shows that Afghans in history process of post-revolutionary Iranian films are first, immigrants, patriarchs, family members, conservatives, obedient, simple, and hardworking. They have low financial capacity, cultural status and social class. Growing up in Iran, they were able to improve their financial situation, cultural status, and social class, start a family with the Iranian people, buy a house and study at university in Iran.

Undoubtedly, the issue of education has been one of the greatest human concerns throughout history, and the multiplicity of educational theories shows the importance of this issue in all human cultures. The up-to-dateness and non-static nature of educational theories also confirms the tacit and tangible and objective capabilities of education, which in the present age has led to critical theories. Henri Giroux is one of the most important contemporary critical theorists and the author of the theory of frontier education. This theory, which is one of the most effective postmodernist educational theories, seeks to educate new generations for a democratic life in an egalitarian society with liberating goals. Hassan Nayyerzadeh Noori is an Iranian teacher who used to teach Persian alphabet from the 1950s to the 1980s with the help of the performing arts. His method of using the elements of Iranian drama, beyond teaching the alphabet alone, leads to the intellectual and spiritual development of students. The present research, done by analytical-descriptive method, intends to answer the main question of how Nayyerzadeh's method can be in line with Henry Giroux's educational components; by studying Nayyerzadeh's teaching components and adapting them to Giroux's theory of border education. And the sub-question is Nayyerzadeh's teaching method differ from what part or parts of Giroux's theory? This research is based on the hypothesis that primary education in Iran, by using the performing arts, can approach the theories of postmodern education Giroux (theory of border education) and at the same time preserve its indigenous values ​​and pass them on to the novice generation.

The Indians (1357) is the story of passion and enthusiasm of young people who have dedicated themselves to cinema and would go through anything in life to achieve their dreams. The characters in the film are so possessed by the cinematic images that there is no hope of deliverance from this magic. Hence, The Indians can be considered a film about the power of images and their influence in life, identity and relationships of modern subjects. The Indians has a lot of narrative and technical potential to study some important theoretical topics about nature of cinematic and photographic image. These topics have attracted the attention of theorists in the field of photography and film, especially in recent years. Themes such as the role of cinematic images in shaping the alternative dream world for modern subjects, the relationship between cinema and the metropolis, the relationship between cinematic motion picture and photographic still image, the referential nature of photographic images, the role of media, film and photography in this case. Film and photography as perceptual prostheses and their function in creating artificial memories and experiences are prominent in this film. The present study, which has been done by descriptive-analytical method and using library sources, tries to explore these aspects and implications of the film by employing the opinions of thinkers such as Susan Sontag, Laura Malloy, Alison Landsberg and Elisa Marder. This study shows that using the ideas of contemporary theorists in re-reading the works of Iranian cinema, can reveal some of the hidden and neglected capacities of these films. The findings of this study reveal that The Indians, using various cinematic arrangements and adopting distinct narrative and technical strategies, works as a creative exploration of the nature of cinematic and photographic images, and the power of these images to influence Modern subjects. The film explores how cinematic images can be integrated into people's subjectivity, creating prosthetic experiences and memories for them. Memories which are not limited to the past and have the power to influence subject’s future. However, the filmmaker is not very optimistic about fate of these people and refers to the mortality that lies beyond the myth and fantasy of cinema. Although the Indians is a film about cinephiles, and the film constantly talks about cinema and movie stars, there are no cinematic scenes or there is no scene that shows these characters watching a movie throughout the film. In the climactic scene of the film in the cinema auditorium, the big screen curtain, which does not show any film, forms the background of most of the events. The huge vacuum that the curtain crystallizes could be a sign of the crucial absence at the heart of the Indians. The hole which The Indians’ fictional world is formed around, is nothing more than a vacuum, an absence disguised as an illusion.

Oedipus Rex's drama is one of the most famous plays in the history of dramatic literature in the world. This tragedy originated in the fifth century BC in ancient Greece by Sophocles. Oedipus the Prince is considered a perfect example of Aristotelian theater or tragedy. This work has been analyzed from several angles, including psychology, sociology, and literary criticism. Structuralism as a method of critique and analysis of literary texts has profoundly impacted the history of literature. Focusing on folklore and folklore, Vladimir Propp proposed a new way to interpret and analyze storytelling and narrative structure in a fairy tale morphology study. Propp's approach is based on the performance of the characters and their selfishness. In his theory, he introduces seven recurring characters based on their actions. Oedipus commits a great sin because of his deeds, falls from his lofty position, and is ruined. It seems Oedipus the Prince can be analyzed based on the prop model of repetitive characters. The present study is based on descriptive-analytical methods based on library sources and study of texts. It tries to show that each of the characters that Propp is looking for in his structuralism analysis is Oedipus himself, or in other words, Oedipus is such that all It has Propp characters. In this research, relying on the Prop method in the structural analysis of the narrative and the character of Oedipus as a constructive element in the drama, the research questions have been answered, and the results have been presented