نشریه تئاتر
سال نهم شماره 88 (بهار 1401)

The mourning ritual in Iran is the only ritual that in the course of evolution, has become a kind of ritual performance in the Qajar period, having national and religious identity. Despite all the controversy over the origin and exact date of the first taziyehs, the principle of developmental history seems to be an acceptable and logical approach to the subject of the theatricality of mourning rituals until it changes to taziyeh. The ups and downs of the history of mourning rituals in Iran show a direct relationship with the conditions prevailing in historical periods. Since the aesthetic evolution of these rituals, due to the recognition of Shiism, begins from the Safavid period, the historical scope of this research is the Safavid period to Zandieh, which paved the way for the emergence of the first ritual performances of Ta’ziyeh. This study seeks to answer the question: What social and political factors have been influential in the emergence of theatrical features in official mourning rituals in Iran? The research method is historical- descriptive and the initial result indicates that the emergence of theatrical coordinates in mourning rituals in the Safavid period is part of the process of development and propaganda of these rituals that the Safavid government used to gain authority and legitimacy. This process in the Zandieh period, due to the freedom of action and talent of the masses, brought the mourning rites closer to the final theatrical forms by interfering with the elements of narration, story, and characterization.

Existentialism is the most outstanding school of philosophy following the World War II, which has influenced the intellectuals and artists, especially poetry, plays and movies. One of the most notable playwrights who was also an existentialist philosopher was Jean-Paul Sartre who is thought of an atheist. This article seeks to support the hypothesis whether Sartre was influenced by the founder and philosopher of existentialism, Kierkegaard who, unlike Sartre, followed Christianity. If yes, what were the existentialist categories influenced by Kierkegaard? Are these categories represented in the Sartre’s dramatic works? To answer the questions, we first explain existentialist categories proposed by Kierkegaard: existential sphere (aesthetics), ethical sphere, religious spere, oblivion, choice, universal belief, remorse and feeling regret. Then, we analyze whether existentialist categories are represented in Sartre’s plays of Dirty Hands, the Unburied Dead, the Flies, the Respectful Prostitute, and the Hell. This article uses library methods and rational analysis to demonstrate how the aesthetic process of Sartre’s creation of dramatic works, influenced by the existentialist philosophy of Kierkegaard, has turned into memorable works of art in the history of the world’s dramatic literature.

The new media has had a profound and dramatic effect on the isolation of the country’s theater, so that the life of this field of art needs a new model based on a fundamental revision of current approaches. The present study aims to design a model for the survival of theater in the age of modern media based on grounded theory approach. This research is an applied-developmental in terms of purpose and a descriptive research in terms of data collection which has been done by cross-sectional survey method. The statistical population of this research includes theoretical experts (professors in the field of theater and media in Iran) and experimental experts (managers and activists in the field of theater in Iran). Sampling was performed purposefully using non-probability method and finally 17 selected experts participated in this study. The data collection tool is a semi-structured interview. Data based theory (grounded theory) method was used to analyze specialized interviews. Research data were analyzed using MaxQDA software. In the open coding stage, 191 codes were identified, which with the observations made, 6 paradigms, 12 main categories and 41 indicators were achieved. Twelve key categories were identified including new media, third theater, digital world, technology, virtual world, history, governments, artists, modern performance, theater survival, citizenship, and participatory management. Based on the paradigm model of research, new media is the central phenomenon in this study. Technology, the digital world and the virtual world are causal conditions that affect new media. Of course, the role of the government and artists as intervening conditions should not be overlooked. On the other hand, theater is rooted in history, and developments in this field must be trusted by taking historical developments into account. Finally, the results of this study showed that the third theater is a strategy that, according to the point of views of theoretical and experimental experts, can turn the new generation into a theater audience and ultimately guarantee the survival of the theater.

In the study, the thoughts and intellectual concepts of the authors have been reflected, and by understanding their roots, one can also understand the current issues of the world. Many writers have specific beliefs and tendencies that indicate their interest in different philosophical and literary schools. The aim of this study was to investigate the effect of the link between existentialism and form- oriented theater based on Merleau-Ponty’s ideas on form and structure. The method of libraries of necessary information has been collected and then this information has been analyzed by descriptive-analytical method. The results indicate that the novel and vague movements and forms in formative theater are also due to the induction of a sense of rebellion and freedom in understanding the world, and arising from the philosophy of existentialism, often the perception and understanding in the formalist play is left to the viewer.

Fashion over time has affected our perception of other people’s bodies and has always changed the shape of the body. Since 1860, fashion designers have been trying to freely and creatively combine ideas from the fashion and art industries to come up with ideas that critique the impact and dominance of fashion on people’s lives. One aspect of fashion in combination with art was fashion shows, which flourished in the 1980s and 1990s and peaked in the early 21st century, drawing attention to the cultural values of clothing. · Victor and Rolf, Dutch designers, changed the proportions and shape of the body through clothing, emphasizing the connection between fashion and the show, In this way, they changed the boundaries of fashion, theater and film. Changes in the proportions of clothing and body shape in fashion shows affected the movement, direction and behavior of the models, So that the importance of clothing seemed more than human. The power of objects and their effect on human behavior and how to direct their movement in space is one of the significant cases in Puppet Theater. Therefore, in this research, an at- tempt is made to investigate the relationship between puppetry and its possibilities in Victor and Rolf fashion shows, using an analytical method and using Marc Jonson’s theories about movement, and to answer the question that fashion shows Critically, how can they be considered a puppet show? The results of this study include human puppetry through clothing in the company’s fashion shows and stated that when fashion shows approach puppet shows, they can be more successful in attracting audiences and use puppet theater as a medium for conveying criticism. Take advantage of yourself.

The significance of the present research is that people who work in education in Iran to understand the theatrical and drama methods by which the teaching becomes more stable and enricher. Although the theatre pedagogy is a sub-branch of applied theatre and creative drama, which has been recognized and used for years in nurseries and primary schools, other courses have not found the reasons and methods of using performance facilities in their lessons yet. On the one hand, these kind of researches show the lack of credits of applied theatre in theatre schools, and on the other hand, it indicates the lack of knowledge of other sciences on paradigm shift of learning of subjects about its own skills from the traditional method of task-base language learning to task-base performance in the world. Therefore, the present research, by a brief review, first attempts to explain the general status of applied theatre, particularly the pedagogy theatre in different science teaching in order to understand the basic mechanism of pedagogy theatre. Studying the mechanism of pedagogy theatre is resulted in recognition of distinctive mechanism of this type of education from other educational methods; the mechanism that main kingpins can be summarized as follows: 1. The presence and activity of a facilitator who predominates in both field of teaching and drama. 2. To accentuate physical function and activate the right cerebral hemisphere by dramatic games. The main question is that how the pedagogy theatre can help to improve the quality of teaching foreign language? Accordingly, from mechanism of the theatre pedagogy point of view, a method of teaching foreign language called TPR has been studied. Studying this method shows that its founders have based the fundamental principles of teaching methods upon these two kingpins of theatre pedagogy. This studying indicates that in TPR method the classroom turns into theatrical scene where its tutor acts as a drama facilitator teaching different language skills by arranging and performing theatrical games.