نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 27 (زمستان 1400)

Stories that can turn into screenplays and adaptations made from these stories both use various methods and semantic sciences in their structure to create the narrative. Various theories of narratology analyze and compare the structure and components of storytelling and adaptation. One of the most important theories in this field is Gerard Genet's theory. The present study examines the short story of Houshang Golshiri called Masoom Aval and the film Long Shadows of the Wind by Bahman Farmanara, which is an adaptation of it from the perspective of different levels of narrative elements including order, continuity, time, sound, and tone in various parts of the story. The film compares Genet's theories with comparative comparisons to gauge their success in the narrative. These measurements showed that in some levels of the story and some levels of the film, it has surpassed the contradictory effect in terms of narratology. If the creator of a work of art makes more use of narrative levels, he can perform best in creating his work of art and keeping it in the mind of the reader or viewer. The artwork created by this method becomes art with more comprehensibility for readers and viewers. Therefore, by measuring the number of events, it can be perceived that the film has benefited from narrative levels more than the story. Narratives are shown separately on particular tables. The assessment of narratives is also presented in the form of a diagram that can be examined and applied. Based on these tables and measurements, it can be seen that the payment of narration in the film is more in line with Zenith's views. But in the story in question, according to studies and assessments, it can be noted that its narrative payment to the film is far from Genet's views. Therefore, the film has been more successful in narratology. Based on the filmmaker's ideas, the film's narrative has been able to take a step forward in storytelling due to the filmmaker's creativity in using film-making elements such as screenwriting, camera movements, acting, etc., and has even surpassed the story in some cases.

Drama always had been critical of theatre elements between BC and the end of the 19th century. With the advent of directorial, slack emergence of theatre from literature has begun at the beginning of the 20th century until the second half of the century, paradigms in arts changed and artistic theatre leaned toward performance, following the appearance of performance, promotion of an interdisciplinary approach in arts –which dissolved bordering among performance arts and visual arts, increased tendency to modern technology and numerous pioneer artists encounter with mass media. Nowadays theatre is divided into two categories dramatic and post-dramatic. Post-dramatic theatre assigned space, gesture, image, and sound a more effective role and determined a structure that all composing elements of theatre would be equally important. Moving toward image and sound which didn’t prevail as technical factors of work, but as artists doing work, following the development and increase in electronic and digital features and the presence of sound engineers and designers, presents a new form of dramaturgy based on audio and introduced as dramaturgy of sound. The research aims to study audio and sound in contemporary theatre and to discover new performance elements capability including sonic bodies encountering the audiences with a new form of performance in audio and visual scenes, which is leaned to his or her scenery hearing. What elements does dramaturgy of sound includes, how do sonorous bodies carry out a dramatic act and story (if narrating somehow), and how does the audience comprehend them? The method of this study is descriptive analysis, gathering documentary information and direct observation which live performances, movies, audio tracks, and interviews are cited in direct observation. The findings show that sound is not merely an actor’s tool anymore, but has an entity and self-consistent act in the dramaturgy of sound. Audio sort fundamental is audience hearing act based on the differentiation between listening and hearing and nurturing of his hearing kinds.

Classical Persian music is based on the Dastgah system. “Dastgahs” and “Avazes” comprise Radif. A Dastgah represents a multimodal and interconnected collection of some musical parts named Gushe. This music system has been developing during the Ghajar realm. In an analysis of Radif subjects, various factors are considered the modal characters. Three of them are more characteristic: gamut or scale of the mode, functional notes, and melodic progressions. The “changing notes” (Moteghaiier) are in the functional notes category which can present the modal character of a Gushe. There has been no account of evidence that theorizes occurring of these notes by researchers, yet. Thus, in this article, the main question is about the cause and function of them in Dastgah Homayun from Radif of Mirza-Abdollah. To address this subject, it is necessary to employ a systematic method. This method is recourse to some text of the treatise belonging to the Systematist School period. With presupposition of continuity of the concept about dissonance factors, a procedure developed by the author in this article. These dissonance factors, quadruple criteria, were proposed by Safi al-Din, with the title of “Asbab-e Tanafor.” In this topic, one of the most critical items is the perfect fourth interval. This element has various uses in the theoretical opinions of the Systematist School. The noted interval is also used in the mentioned method. Therefore, the first step was the definition of the basic scale for Dastgah Homayun. After that, the perfect fourth interval was inspected between all notes of this scale. The notes that have no perfect fourth intervallic relation with the other notes of the basic scale in treble and bass directions were named “unattached” and which have this relation just in one direction were named “semi-unattached.” In this way the second, third, and sixth notes of the Homayun scale are unattached and the fifth and seventh are semi-unattached. Concerning definitions, the Gushes of Dastgah Homayun were analyzed. The analysis was on the bases of scores that Dariush Talai has transcribed from NurAli Borumand’s revision of Radif of Mirza-Abdollah. The conclusion shows a convincing congruence in the absence of a perfect fourth interval between the scale notes and the changing notes in Gushes. The complexity of analysis comes from coincident functionality of various events in melodies, and so the affection of changing notes in successive and non-successive modulated Gushes. On the other hand, picking up the perfect fourth interval merely helped to recognize the direction of movements of the changing notes. This case is under the absence of the perfect fourth interval in the basic scale. In this situation, either the unattached and semi-unattached notes, themselves move or the counterpart moves to eliminate the absence of a perfect fourth interval. By finding out the relationship between changing notes and the basic scale of Dastgah Homayun, anyone could attribute these changes to the coalescence of the Dastgah as a multi-modal corpus. Finally, with studies of the other Radifs and Dastgahs, the information about this gender of music will be increased; hence, there will be more options to develop the music compositions on the base of Persian music essence.

Goldone/Goldones depicted in Ismail Khalaj's play "Ms. Goldone" - which is one of the most important works produced in the Iranian play workshop (1969-1979) - have a capacity for multiple interpretations. Because, they are embodied not in a single, but in multiple bodily forms. The method that ultimately leads to its semantic breadth. Hence, this work opens the door to various interpretations and readings for the audience. An opening that regains its cohesion as Goldone becomes the center of weightiness. That is, Goldone both opens the door and somehow escapes its breadth; because it is the central point and connecting link of the components.With these explanations, in the present study, three readings of Goldone's idea – an idea, not a person - will be considered; One based on "language", the other with the centrality of "space" and finally with the focus on the "body" of Goldone. Selection of these three aspects has been inductive. In other words, the choice is based on the direct encounter with the play and based on the noticeable use of the author of these three aspects; and not based on a primary assumption and framework. It starts with the specifics to get to the general pattern. This is because it is in this way that we will be able to find an analysis commensurate with the coordinates associated with this particular work. Therefore, the main method of research formulation is inductive content analysis, and in terms of advancing the analysis, also descriptive-analytical method will be used.Results pointed out that despite the apparent multiplicity of Goldones, they share some similar criteria that connected them. In each language, nostalgia is somehow visible. The past instills the idea of ​​morality and felicity in the character's presents. In the reading of space, all four show signs of the former ideal space that is now collapsing. The space is currently declining in the face of industrial and developed life. The analysis of the body also showed that the Goldones eventually embodied in the form of a common body named Zari. Zari's final movements, in the best possible manner, reveal the news of the disappearance and ruination of Goldone beyond a person. The moment of death and destruction of a collective idea. An idea which was embodied on the stage in the form of a female body.

In our age, postmodern idea as a cultural and historical phenomenon has affected all cultural, political, and economic aspects of life. Despite its comprehensive impact on contemporary human life, postmodernism resists being defined and categorize and there is no exact definition of its nature, so that, this phenomenon is known as complexity and incomprehensibility, but it is often viewed in the context of questioning modern ideals. This path has been accompanied by many ups and downs, which in each period have been influenced by the socio-political characteristics of its time, and from within these effects, in parallel with the tools specific to the cinema, it has achieved many leaps and metamorphoses. Cinema, as an important part of contemporary art, has not escaped the influence of postmodern theory. Postmodern cinema, like other aspects influenced by this intellectual movement, does not have a clear example and precise definition, however, some of its features can be considered by examining the works of some filmmakers. The postmodern condition, which does not have a specific theory and approach, depends on various factors in the fields of literature, architecture, philosophy, sociology, etc. Consequently, since postmodern cinema is not studied by a single theorist, the components of postmodernism in movies cannot be easily analyzed. For this reason, Jameson's views, which are more comprehensive than the views of other postmodernists, have been chosen as the theoretical basis for this study. According to Jameson, the origins of postmodernism are first studied with a historical approach, and then, its aesthetic components are extracted and analyzed. The present study examines the elements of postmodernism in contemporary cinema with a fundamental objective. The research method is qualitative and has been done through a case study method. The required data have been gathered from library sources and audio-visual archives. In line with the research objective, four films from Roy Andersson, namely "Songs from the Second Floor" in 2000, "You, the living" in 2007, "A pigeon sat on a branch reflecting on existence" in 2014, and "About endlessness" in 2019 have been selected and analyzed. The result suggests that the extracted postmodern components based on Jameson's views are fully compatible with Andersson's late cinema and can be used as a model for the detection and analysis of postmodern films.

This article is an attempt to explain and present the definition of “Another in Me” based on Paul Valery’s discourse in “The Lady From The Sea” which is a play that was written by “Henrik Ibsen”. The main direction of article is the understanding of “Another in Me” in the “Symbolism” which was explained by Paul Valery. This article refers to Paul Valery’s poetry and prose for the deeper understanding of Valery’s Symbolism. Illustrating the concept of “Another in Me” on the main character of mentioned play, “Ellida” plus making turbulence and involvement between marine area and earthy area that leads to "selection”. Also for making this subject more objective and the better understanding put the Symbolism’s mechanism in the chart format. Therefore two other Characters of this play “Arnholm “ and “Sailor “ are two different faces of Ellida and because of the writer's ability to use literary elements have objective aspects in two other characters at the same time. The main character of this play apart from marine and earthy connection in the material world is in the connection and discovery with the inner world. The other related point is the explanation of Symbolism’s place in The Lady From The Sea based on the Freud’s approach, from this window the other two characters (Arnholm and Sailor) who are representations of two period of Ellida’s life – past and present – explanation again and their Symbolic aspects match with Ellida’s face, The result is obtained that Ellida’s truth is hidden beneath the two other Characters’ face. This essay that was written in the form of “Descriptive –Analytical” is an identity study from the inner world of the play "The Lady From The Sea" with consideration of spiritual journey and conduct of the main Character of the play “Ellida” and is an answer to this main question: why and how the main character of The Lady From The Sea between two facts of his life based on the concept of “Another in Me” accomplishes discovery of herself and her wish and then chooses and what is the outcome of her choice? Also the result of the process of confrontation and explanation of Valery’s theory in The Lady From The Sea is an important challenge of the main character of the play “Ellida” and the communication between the other characters (Arnholm and Sailor) to access the other area of herself.

Walt Disney Company's works have a special appeal to audiences, especially children and adolescents. One of the main axes of animation production in this studio has been the creation of works on the subject of female characters. These characters were mostly taken from folk tales and literature in the middle of the twentieth century. They are innocent, kind, and obedient girls who are often oppressed. In the shadow of cultural and social developments, the themes and content of heroism in the works mentioned at the beginning of the 21st century and after, have undergone significant changes. The main characters and female heroes in the mentioned works are represented in the form of brave and independence-seeking women with noticeable differences compared to the previous models. Now the main question is, what image does this representation present of the heroine in the pictorial texts of the last decade, and what is the ideological orientation of the text in this representation? The purpose of the research is to examine and analyze the tendency of the text to define feminist discourse in the creation of the protagonist of the target animations in the framework of representational approaches. The two animations of Dalir and Moana are the selected items of this research. The research method is an operational method called Pedam and is based on Fairclough's critical discourse analysis approach. In this native pattern, the three-dimensional Fairclough model, description, interpretation, and explanation are divided into five smaller levels of analysis. The visual actions in the main sequences of both films are the basis of the analysis. Resources have been collected through viewing works and reviewing library and digital data. The findings of the study indicate the presence of images in contrast to the clichéd and stereotypical representation of women, in line with modern and postmodernist views prevailing in the media space. In these two films, stereotyping and counterstereotyping simultaneously play a role in representing the protagonist. The result is that the text, in its constructivist representation of the protagonist, in its representation of the protagonist's childhood, seeks to define and identify a new discourse as opposed to the Disney Studio-centered discourse of feminist discourse.