فصلنامه کیمیای هنر
پیاپی 45 (زمستان 1401)

Dramaturgy, as a creative and critical act dependent on the theoretical and practical knowledge of theater, consists of two parts with Greek roots: Drama (action) and Ourgia (work and operation). Ourgia literally means to practice, act, and in other words process a raw material. Eugenio Barba divides Dramaturgy in to three parts: Actor Dramaturgy, Director Dramaturgy and Audience Dramaturgy. The modality of the process of acting (character action, corporeal action, and phonetic action) as actor dramaturgy is collaged, divided and assembled and then the dynamic stage motions present in space and time are conducted by actor. Paul Castagno, in his recent theorem, expounds dramaturgy as ‘‘Individual creative contribution of the actor to the growth of a performance’’ and ‘‘actor`s ability to root what they have recounted into a structure of organic actions’’. This perception emanates from a mode that a play, without actor`s cooperation and taking part, would never take place. Through this combination to create the character, Geoffrey Proel attributes the dramaturgical responsibility to the actor and asks them to participate in the creation of the content performance and transfer their lived and personal experience into the organic dramatic structures of the performance. The major problem of this paper is to expound and elucidate the relation between dramaturgy and actor, based on modality of production, exchange and combination of two internal structure (organic force) and external structure (dynamic force) in post-modern performance in theatre. Patrice Pavis, in 2000, predicted the need for an actor-dramaturge to complete playwriting in the 21st century. In order to complete the present study of Patrice Pavis’ recent theory in the field of dramaturgy-actor, we tried to use the later theories of thinkers such as Edvard Brands, Eugenio Barba and Jeffrey Proel. The present article, using analytical-descriptive method based on dramaturgy theories, presents a model of communication between dramaturgy and actor in the dynamic atmosphere of postmodern theater, which relies on three sides of imagination and conceptualization (a priori agent), Analysis and practice (current agent) and production and performance (posterior agent). Theater in general sense, and acting in the specific, are faculties that are in an internal structure; as the organic force and an external structure as dynamic force, are dependent. The result of the study shows that the combination of the phrase dramaturge / actor plays an important role in the actor’s attention to theoretical, practical and critical considerations to eliminate the shortcomings of rehearsals in the process of creating a role during a certain time.

Environmental aesthetics includes some features of natural and artificial beauty which, apart from its importance as one of subfields of philosophy, can play a role in reforming and upgrading of human relation with nature and thus this can have constructive influences on environmental ethics. This is one of the possibilities of philosophy, and also this is a way to show more attention to the various aspects of the vital and cultural of aesthetics and avoid limiting aesthetics to art. This show that the category of beauty apart from pleasure can enhance vital value in life of human, also, can be translation some Kant’s view on relationship between beauty and moral good. In this qualitative article, we describe and analyze the opinion of experts in this field. Data has been extracted through library study and internet search. The findings confirm the effect of aesthetic appreciation on human ethics and behavior. Accordingly, it is necessary to pay attention the philosophy of natural beauty. In this analysis, also, is mentioned to the role of nature documentary films.

The influence of Kamal-ol-Molk on Iranian contemporary art is taken for granted. This effect was the beginning of changing the paradigms governing Persian painting. But despite the influential position of Kamal-ol-Molk, the discussion about this influence and position has not always been the same, and perhaps it can be said that few artists in contemporary Iranian art have experienced such a difference in evaluation. Honar-va-Mardom magazine, as one of Iran’s pioneering artistic publications, with a governmental structure and affected by the inevitable acceleration of modernization of Iran in the 40s and 50s, (equivalent to the 60s and 70s AD) is one of the first examples that introduced Kamal-ol-Molk. In these texts, different definitions of Kamal-ol-Molk have been presented. The purpose of this research is to analyze how Kamal-ol-Molk was introduced in the Honar-va-Mardom magazine and determine the relationship between this introduction and the developments of Iranian modernism. Since the purpose of this research is fundamental and it is done by examining the historical developments of the decades in question, the historical-analytical method was used. Data from books and articles on contemporary Iranian history and magazine archives have been used. The results show that the introduction of Kamal-ol-Molk in the publications can be classified into three groups: 1- The paintings are amazing in terms of Realism and resemblance to photographs, but with some technical problems. 2- The works are limited to copies and the necessity of modern society is to pay attention to the contemporary arts of Europe and America. 3- Kamal-ol-Molk joined history and created change in his time, which was due to the conditions of his time.

Following the political and social developments in Iran in the mid-1370s, young artists created critical works in the new social and cultural demands. In such an area, the subject of the works moved towards more realism, and social realist painting was re-formed in Iranian contemporary art. These paintings show that the human subject has been indoctrinated with the opinion and rethinking of social beliefs and values, and by rejecting them, the subject is removed and collapses. Therefore, the author aim to analyze the process of the collapse of the subject in the realist paintings of Iran In the last two decade with benefit of the concept of “non-subject” in the discursive semiotics approach.  Research method is descriptive-analytical way and analysis of the works by using the discursive semiotics of Paris school. Based on this, the relationship between the form of expression and the form of content in the formation of “social non-subject” in Iran’s realistic paintings of the eighties and nineties, and the process of meaning production. Also, visual discourse in explaining social non-subject in paintings, have been analyzed.The findings indicate that in these paintings, the artist weakens the actional discourse through the elimination of the reel presence of the subject and visual semiotics strategies Such as norm-avoidance, subject’s automaticity, unaware subject, marginalized subject and subject’s threatened position. In this way the presence of discursive non-subject is highlighted and the subject has collapsed. Also, by introducing the subject into the perceptual-sensory discourse and putting him under emotional Intensity through visual arrangements such as darkness, wrinkles, wounds, etc., the artist achieves the modality discourse of anxiety and worry, which explains non-subject.

Some fundamental changes were emerged in various fields (social, political, cultural and artistic) with the presence of the Islamic Revolution and the founding guidelines of this great event of Imam Khomeini. The present study aims to identify and introduce the characteristics of the Islamic Revolution’s art identity with the theoretical studies and considering various aspects of Imam Khomeini’s message addressed to artists and the main axes of his theoretical design. When, why, how and by whom these characteristics are reflected in the paintings. How close or far have the painters of the revolution come to these characteristics? To what extent have these characteristics contributed to the evolution of the painting art of the Islamic Revolution? The main question of the present article is that what are the identity characteristics of the Islamic Revolution and what are the most important ones from Imam Khomeini’s point of view? To what extent have these characteristics been influential in the painting of the Islamic Revolution of Iran? First, the identity and the Islamic Revolution and Imam Khomeini’s views on the art and tendencies and approaches of the revolution in painting are introduced and explained and the characteristics of identity are discussed. The required information has been collected using library resources and with a fundamental and descriptive-analytical approach, it has been concluded that the characteristics of the identity of the Islamic Revolution taken from the worldview and the statement of Imam Khomeini have been exhibited by the artists of the Revolution with various arrangements in the paintings of the Islamic Revolution.

The position of the artist in different periods of history has undergone fundamental changes due to the difference in the concept of art and the relationship between art and wisdom: From the creative idea of creation, which placed the creator in the position of the first artist, to the era of the rule of the philosophy of religion or theology, in which the artist, as a craftsman, was merely the executor of superior ideas and goals, and lacked any special social or post-credit. With the emergence of the Renaissance, artist-scientists emerged who created a new situation by emphasizing the superiority of human ideas, which finally brought a new definition of the artist-philosopher to the scene in the 20th century with the emergence of conceptual art. But with the decline of modern thought and the establishment of its critical systems, the bell of the end and death of many concepts tolled. The present research, which was carried out with the descriptive-analytical method and with the aim of clarifying the relationship between the idea and artistic performance and the social status of the artist in history, especially in the late period of Iran, will show that at the beginning of the history of the artist as a creator, the basis of the mythological stories of creation had a special capability and activity in the matter of creation; that is to say that the artist and his art was interpreted in relation to the creationist matter, while in the later periods, the idea of art leaves behind the monopoly of the artist’s mind and personal perception. Here, art is committed to the thought and belief of its supporters; although this gives the work of art respect and importance, it lowers the status of the artist to the status of an anonymous craftsman. In the age of wisdom, once again, the artist, with her commitment to creating a work of art based on individual thought, succeeds in gaining a special position in the social arena.