Acting requires technical and skill training. Accepting the fact that there are not many educational methods and all theories end up with the “Stanislavsky system” during the last century, many teachers, directors and researchers mix methods to achieve a unique method. Just like the influence that Lee Strasberg, Stella Adler and Sanford Meissner received from Stanislavsky and founded a new method called method teaching in America. Since the aim of the current research is to analyze the character creation based on Terry Schreiber’s practical techniques, this question arises, what new solutions does Schreiber, who continues the formative process of teaching, offer to actors. In Schreiber’s education, it is important to understand this principle that he believes in the combination of two schools of thought, “Going from the inside out” and “what if...” and believes that these two contain a means to reach the same goal; Helping actors activate their tools, increase their imagination and thus expand their abilities. Schreiber provides actors with a box of suitable tools. It means an infinite variety of exercises that will help actors to analyze the character of a role. The goal is for every actor to understand “how to work” on himself and achieve success. Schreiber’s understanding is that each actor can develop his talents in a different way depending on his individuality. He believes that neither the system, nor the method, nor any other technique, have the same application for everyone. Therefore, it does not limit the actor to any specific model and trains multilingual actors. In order for the actors, by expanding their skill and technical tools, to have the necessary self-confidence to play in any situation. Therefore, invention, creativity, innovation along with taking risks are important components in his educational process and it is important that every actor has creative growth. Schreiber has discussed discoveries and experiences that are among the new ideas in the last sixty years of acting education. In such an approach, all the work of the class is about investigation, discovery and learning, and the structure of the exercises is not random in any way. This training method is designed to fully prepare the actor to appear in a professional environment. A game with a combination of intellect and instinct. The current research is in terms of descriptive-analytical method and in terms of the method of collecting library information. Data analysis is qualitative and non-random sampling was used to select subjects.

Aristotle, the famous Greek philosopher, discussed tragedy in poetics but he did not care the ”Gods”. While historical studies show that the “gods” play an important role in tragedy. In this study، we try to determine the causes of ignoring the “gods” in tragedy with Aristotle. The method is descriptive-analytical and library resources have been used. The result of this study shows in spite of the important role of the gods in tragedies , the causes of ignoring the role of the gods in the event of tragedy by Aristotle are: realistic, logical and rational view of world phenomena and as well as belief in man as a creature of intellection and choice.

One of the interdisciplinary discourses that have a great influence in dramatic literature and among Iranian playwrights is the discourse of Orientalism and especially “ Orientalism in Reverse.” Orientalism in Reverse, unlike Orientalism, which defines the East from the perspective of the Westerners, wants the Orientals to know themselves and deal with the formation of the West, which is inherently different and in conflict with the original and true values of the East, and protect the original East against the expansion and dominance of modernity. Influenced by this approach, since the 1340s, plays have emerged that represent eastern values against western ones and reveal them through “words, actions and objects.” By the dominance of orientalism on the thought of playwrights, the image of the characters’ bodies represented in Iranian dramatic literature is not excluded from this approach, and, based on the Orientalism in Reverse, the characters’ bodies take on an ideological value. On the other hand, focusing on the ideological body in Iranian dramatic literature not only reveals the ideological side of the play, but usually in the studies conducted on Iranian playwriting, they often focus on language, narrative and characterization, and paying attention to the representation of the body in the text of the play, which is actually the first phenomenon through which man perceives the outside world and expresses his thoughts, has been neglected. On this basis and based on the discourse of Orientalism in Reverse, Iran’s dramatic literature also entered into the ideological conflict between East and West, and this had an impact on the ruling thought of the works. These manifestations can be analyzed not only in the language and ideas in the work, but also in the images and descriptions that the playwrights provide of the characters’ bodies and the signs that the characters carry on their bodies. In this paper, while explaining this ideological conflict between the East and the West centered on the body, three plays of Jafar Khan Came from the West (1300) by Hasan Moghadam, Mouse (1342) by Bahman Forsi, and Slow with Rose (1364) by Akbar Raadi, which were written in three historical periods after the constitutional revolution, the beginning of industrialization, and after the Islamic revolution, and which openly and covertly focus on the ideological conflict of Eastern and Western values, will be examined.

Jung believes that most violence stems from complexes, losses, and injustices that burden the human soul resulting from environmental, social, and economic conditions, strengthening the dark side (the shadow) in a person and eventually leading to numerous disorderly conducts. Moreover, the Expressionist theater is a theater that intends to create a nightmarish and dreamy ambiance with the use of shadowy and unrealistic lighting, bright and stimulating colors, staccato, and convulsive dialogues in order to depict the mentality, imagination, inner passions, and emotions of humans. Therefore, this study aims to combine the characteristics of Expressionist theater with the psychological teachings of Jung, including the shadow, archetypes and personal and collective unconscious, and produce a theater through which the audience experiences the vices of mental abuse and hidden aggressions; thus, this theater can be effective in the modification and amelioration of mental abuse by developing a proper understanding of this conduct. The research method in this research is analytical-descriptive, An analysis of the play “The Father” by August Strindberg shows that violence in the main characters stems from their childhood, unfortunate past events, the interaction between the characters, and the injustices done by men against women or visa-versa throughout history and recorded in the collective unconscious of women and men. With these interpretations, a theater was presented, modeled after expressionist paintings with deformed faces and the characteristics of this theater and their use, including the use of masks with open and angry mouths that evoke the cunning face in the human unconscious. And by using semi-dark scenes and by presentation and representation shadows and ghosts, it has been tried to show the mentalities, inner emotions and emotions of the main characters (Kaapitan and Laura) and how they deteriorate mentally and psychologically. As a result, by watching this type of theater, the audience can communicate with the violent archetypes that exist in his subconscious. and touch the damage in this type of violence with all his being and he experiences the vices in it And by knowing and understanding it to correct and Reduce psychological violence.

Street theater is inherently different from the museum or socalled elite arts, and its artists use theater not as mere art, but as a tool working toward peace and as a counter-power in the fight against discrimination and inequality. Transcending the confines of the playhouse, street theater expands its scope of influence over streets and communities and goes beyond the traditional rules of the classical stage to establish a deeper connection with different audiences. Street theater is the voice of those who are cut off from mainstream media channels but still want to express their views. Street theater conveys alternative voices and beliefs, performs an effective socio-political function in society, and promises to make a positive change in the lives of everyone. It uses the power of collective participation—a vital force in human nature—to explore the adverse conditions in society and encourage individuals to make an effort to achieve collective growth. This study aimed to review the counter-power potentials of street theater. The results show that artists can employ the potentials of this theatrical form to free themselves from the cultural dominance of power institutions that dictate their own artistic values and contribute to the growth of society in social, political, educational, and cultural terms.

The present article, which is written in a qualitative and descriptiveanalytical method; It tries to critically analyze hopelessness and despair from the perspective of Marcel’s philosophy of hope in one of Saedi’s plays. Despair and hopelessness are among the concepts that can be seen in the works of some Iranian writers after the collision between Iran and the modern civilization. Therefore, Gholamhossein Saedi has written plays centered on the average urban society of Iran and has displayed the layers of despair in the life of the Iranian society of his time. On the other hand, Gabriel Marcel; The Christian philosopher and French dramatist, faced with the despair caused by the world wars and the collapse of philosophical systems, defined the possibilities of his philosophy of hope to overcome the despair and hopelessness which were as result of the events of the first half of the 20th century, to achieve human excellence in a concrete way. Now, the main question of this research is how to criticize and investigate the components of despair and hopelessness in the play Root of misery by Gholam Hossein Saedi, relying on Gabriel Marcel’s philosophy of hope, And how, relying on concepts such as the dialectic of hope, the metaphysics of hope, and absolute hope, can we analyze the components of despair in the play Root of misery? Also, in this essay, it is discussed how to provide a solution for excellence and hope in the characters of the play, relying on Marcel’s philosophy of hope.