نشریه رهپویه هنرهای نمایشی
پیاپی 4 (تابستان 1401)

Stress, anxiety and depression are among the human diseases that have many social effects; A phenomenon that great writers have referred to as the scourge of the modern age and have considered its cure necessary for the survival of any society. In fundamental studies in the fields of social sciences, psychology and art, various ways to eliminate and treat this stressful disease and its role in creating social crises and abnormalities are offered, including: psychoanalytic counseling, clinical therapies and creating a spirit of vitality and expansion of mind. In this regard, the use of artistic capacities with reference to political, customary conditions and values ​​arising from historical and religious identities is common. For example, the use of the language of "humor" in Iranian society is a precedent and widespread. The verbal (allegorical) and pictorial (allegorical) form of Iranian humor, with all its long history today, has changed due to the spread of digital arts, especially in cinema, and offers subsequent interpretations; Which is not to the liking of commentators. He calls humor ridiculous, superficial and superficial; Humor, on the other hand, is a conscious and precise way to reduce stress; And of course informing the community. The present study, with a descriptive-analytical view, examines the values ​​of using social humor to treat these crises through the art of cinema; In an age when the desire for text in cinematic works has decreased and the attention to formative or background knowledge has increased.

Attar Neyshaburi is one of the greatest mystics in 6th and 7th A.D. he is also known as the pioneers of Persian storytelling. Furthermore, he has profoundly affected both the mystics and storytellers after him. He has used anecdotes and stories in his works as an instrument to explain and confirm the mystic concepts and elucidate the stages to the righteous way. In this regard, any research should consider attar both as a mystic and storyteller. The present research has scrutinized the content and the narrative structure of Mantiq-ol-Tayr as one of the samples of fictional works of Attar. Mantiq-ol-Tayr is the most widely recognized work of Attar. Some adaptions have been extracted from some parts or the whole of his work. This research aims to explicate the dramatic aspects and alternatives for dramatic adaptation from it. Analyzing some of the present adaptations indicate that most of the adaptions have been faithful, whereas a successful adaptation should consider the background, time, and other related considerations related to the addressee and the targeted one.Using library resources and a descriptive-analytical method, the intellectual content and narrative structure of Attar's works have been analyzed in this paper. Then, some of the narrative considerations related to the adaptation of this work have been dissected for the stage through concentering on the content and theme of Manteghotteir. Eventually, some of the dramatic adaptations have been interpreted and some suggestions have been provided for dramatic adaptation. These suggestions will be probably able to mull over similar works.

Myths are good examples for understanding the culture and cultural values of any society. The symbolism of the space and the imaginative nature of the legends and the elements in them are a good tool for creating animation. Based on the data collected through field research, this study aims to examine two examples of myths in the villages of Hormozgan by looking at the animation-making capabilities of these myths. These two myths are "I am Mendas" and "Boussalameh". The predominant feature of these two cases is that they are imaginative and the other is that the main character of both myths is female. Psychoanalytic relations with popular culture, on the one hand, and Lacan's view of female discourses and subjects, on the other, have provided a common ground for analyzing female personality in these two myths. In the research data section, the researcher relies on his / her field research and some available sources, and for the theoretical section, he / she refers to library documents. Based on this, while pointing to the common features of myth and animation, an attempt is made to examine the presence of Lacan's four discourses, namely lord, science, hysteria and psychoanalyst, to identify external and internal relations and relations between the type-characters of Menemandas and Bousslame legends. Research has shown that among Lacan's discourses, a particular discourse dominates the overall atmosphere of each legend, and knowing more about the characters of the legends helps a lot to better adapt and produce a richer animated work, and these analyzes It can be a tool for creative writers in the field of animation for children, teenagers and even adults. Also, the art of animation, due to its possibilities, can be a suitable form of expression and artistic media for the studied myths.

After the Islamic Revolution, Iranian cinema underwent many religious, political, social and cultural changes, and an important part of it survived under the supervision of the government based on new cultural goals after the revolution. During these years, in addition to boycotting some figures and some themes such as recklessness in the common sexual relations in Persian films, dealing with some issues was faced with special sensitivities. One of these sensitive issues in Iranian cinema after the Islamic Revolution has been paying attention to the issue of minorities, including religious minorities. The present study tries to study the representation of religious minorities in Iranian cinema after the Islamic Revolution based on the views of Stuart Hall. In this study, in addition to Stuart Hall's strategies in the discussion of representation, John Fisk's cryptographic levels have been used to analyze minority characters, who have appeared in main or supporting roles in films. The results of this study show that the most dominant codes used in the representation of minority personalities, religious rites and ideologies of minorities have been the technical codes of dialogue. The ideology of "self" and "other" or "us" and "them" is repeated in most films. Minority figures are usually more vulnerable than Muslim figures. In general, these films do not mention the way of life of minorities, their social and religious activities, and finally, in the years after the Islamic Revolution, it seems that the use of stereotypical codes to represent characters Minorities are repeated in the films, and there is no innovation in the representations.

All My Sons, written by Arthur Miller, is an anti-war play that critically reflects the way of life in a capitalist society and the terrible consequences of it. In this play, Arthur Miller deals with the contradictions in the system based on the liberal economy in the American society, which on one hand claims individual freedom and taking benefits from opportunities it may suggest, on the other hand, large majority of people have to pay a heavy price. It leads to the collapse of the society and the family institution as the main core of the it. This contradiction originates from the ideological point of view that the capitalist society, according to Miller, carries and injects it into various elements of the society. In addition to the critical view of Arthur Miller as a playwright, the present research relies on the opinions and thoughts of Louis Althusser, who believes that ideology floats between layers of the social formations of a society here a capitalist one, including government institutions, public arena, culture and family. In this article, the aim is to analyze the Miller’s play from Althusser's point of view and address the basic question of how ideological mechanism could work by interpellating the characters of the play, addressing them and defining them as "subjects". It affects people's relationships and determines and directs their social and individual actions. In this way, the aim of this article is to analyze the main characters of the play All My Sons in the ideological mechanism of capitalist society. In this research, the analytical and descriptive method has been used to investigate the characters or subjects of the play and the interpretation of their actions based on the ideological structures of American capitalist society, Revealing the gap and conflict between "ideological promises" and "subject position".

Myth-making from different political, social and cultural events flows in today's world and contemporary societies. Modern human, like his ancestors, have the power of myth-making and he uses this power when he encounters with a situation which is beyond his perception and his potency. It seems that one of the methods to achieve to this goal is creating superheroes whose abilities are suitable with man's needs and desires and his altitude to existence and world. In fact, making these myths is a reaction to fears and inabilities of modern human encountering with the world around him. Today's man has desires and dreams which cannot fulfilment them, so he actualize them in the form of heroes and local athletes. Due to the new world's technologies and developments to illustrate impossibilities, now superheroes can exist on screen. But how they represent myths on cinema screen? This survey studies on the way of representing contemporary myths and analyzing the elements of superheroes. Heroes and superheroes in comic books and in cinema are characters in "contemporary myths" because they have many things in common with myths in their classical meaning. This study relies on Umberto Eco's opinion about superheroes. The way of narration and its dominant components based on character (double identity), repetitive plot, conspiracy, paradox, and time and place has been studied. This research is based on this hypothesis that contemporary myths have components which is traceable in newfound superheroes of cinema and shows that dominant components of these superheroes; narration, time, place and characters show that according to eyewitness and sample surveys, narrative components of contemporary myths can be seen in the form of placeless and timelessness, repetitive plot, conspiracy, paradox and character's double identity.

This research aims to investigate the method of adaptation in several children's and teenagers' plays which were written by adapting religious texts and published in the 80s and 90s. In this research, five plays were selected from prominent writers in the field of children and adolescents, which are: "Dawood's Song" by "Manochehar Akbarlou", "Animal Wrestling" by "Dawood Kianian", "Do Good and Be with God" by "Hasan Dolatabadi", "For Pearls" by "Hossein Fadaei Hossein" and "Saving the Deer" by "Amir Mashhadi Abbas".Then, by studying and explaining the adaptation theory of Linda Seger, we extracted a model from it to analayze a adapted text from a dramatic point of view, and then we tried to use it to analyze the selected plays in order to understand the strengths, shortcomings, inadequacies and gaps of selected playsThis research is practical in terms of purpose and the theoretical studies of this research have been collected in a library form through articles, books, magazines and reliable websites.Finally, with the conducted investigations, it can be concluded that in these five plays, which were among the prominent works of children and teenagers with the approach of adapting religious texts, the main weakness is in creating the story and advancing the axis of direction, and in most of them, the goal of the main character It is not dramatically strong and lacks tension, rising stakes, and a turning point.