نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 29 (تابستان 1401)

Julia Kristeva's concept of Abjection recognizes the relation of the subject with the objects in its environment. What is the cause of the rejection of the subject and its transformation into the Abject object is based on the separation of the child from the mother’s body and the way he/she transforms the mother into the Abject object towards the path to the symbolic, and then an action to draw protective borders for the not-yet-subject. Hence, in order to dominate one sex, the structure of today's societies, marginalizes the subject by the rules based on traditions and makes it a second sex /Abject object. What is considered in this article is the categorization of the subject in societies based on the position which is defined by the symbolic order, which leads the second sex to the status of the rejected and this is reflected in some Iranian movies in the 1390s. In this descriptive-analytical research and based on Kristeva's ideas about Abjection, the common aspects in the subjects of the Iranian movies of this decade are analyzed based on the pattern of the rejection of the horrible subject in patriarchal societies and the Abjection is considered as the basis for rejecting the threatening subject. On the other hand, the two aspects of motherhood and femininity in the subjects of the movies will be considered and the opposition of these two aspects based on the Abjection and the emergence of the Abject object in the symbolic structure will be described. In this article, the conflict of the rejected objects in the dominant structure in order to reclaim the lost rights and the status that has been taken by the symbolic order will be analyzed in these movies: Tales (1390), Nahid (1394), Subdued (1394), Helen (1394), Gilda (1395), Orange Days (1396) and Shirin’s Palace (1397). In this study, for the first time in Iran, the approach of rejection based on Julia Kristeva’s ideas is analyzed in relation to femininity and motherhood as reflected in Iranian movies in the 1390s. To do so, Kristeva's Abjection is used to consider the rejected women in primitive societies to be mysterious and threatening elements and from the perspective of a subject in today's societies as a disruptor of the tradition, and thus the distinction between femininity and motherhood in traditional Iranian society is analyzed.

Kristeva considers text to be a process of interaction between subjects and texts that creates new and endless significances. U.S. based Iranian artists, with transcultural situation, appear in the texts of their performance arts, apply objects, texts and the symbolic in transformed ways, and challenge previous significances and create new ones. In this research we concentrate on those performances in which the artist as subject performs and answer these questions, “How artists apply the above-mentioned factors including body, language, acting and objects, in order to express their concerns?” And “what is the role of each factor in the transposition of the symbolic and creation of intertextuality stemmed from the artist’s liminal status?” The aim of this research is to figure out the stance of U.S. based Iranian artists regarding the symbolic of their motherland and host country, and also, to understand the liminal space of their performance arts as Iranian artists and members of immigrants’ society present in the international arena. In this study, the research method is descriptive-analytical and the library and field methods have been used in collecting data; thus, according to Kristeva’s intertextual approach and semanalysis, and concerning her viewpoints on liminal status of immigrants, we analyze and interpret a few samples of performance arts in two categories of language-based and action-based works. Based on the research findings, in language- based performances, the relativity of the power of language is proposed, and the subject is the “Other”, who supplies the symbolic in the format of objects and incidents in a significant way. On the other hand, in action-based performances, although the subject evades linguistic solutions, it still has to utilize the symbolic in action format. Furthermore, the body reminds us of the physical aspect of “Chora” and objects take on symbolic aspects that imply social limitations and suppressions.

In this article, the researchers have analyzed the orchestration of Persian musical instruments in pieces that have been composed based on different types of musical textures and polyphonic expressions. Such an approach to musical composition in these pieces has led to the creation of a different kind of “dialogue” between instruments in ensembles and the “Persian Musical Instruments Orchestra”. Undoubtedly, the combination of Persian instruments analyzed and discussed in this research differs greatly from the instrumental combinations of Persian ensembles up to the Qajar period. This difference is easily discernible in elements such as timber, balance, number of instruments used, sound volume, and dynamics.This research is based on the musical scores of the previous century (from the beginning of Pahlavi dynasty onwards). Special attention has been paid to musical scores that have been produced between the beginning of Alinaqi Vaziri’s musical activities (which marked a turning point in Persian music) and the formation of the “Chavosh” center and other thought-provoking musical and cultural trends in recent decades, which have led to the formation of numerous ensembles and Persian Musical Instruments Orchestras, as well as the creation and dissemination of Persian pieces composed based on “texture”. It seems that the main necessity for the expansion of the above-mentioned musical and cultural currents is the Iranian society’s longing for social and cultural development after the Qajar period. It should be noted that the tendency of contemporary musicians toward polyphony in art and thought, as well as the worldwide changes that they take into consideration emphasize the importance of this research. In this research, a Phenomenological approach has been incorporated through a direct analysis of the Persian repertoire, and special care has been taken to avoid any biased inference.Finally, the conclusion of the research leads to the introduction of two categories: “instrumental function” (in elements such as melodic lines, counterpoint, harmony, and bass) and “score development and progression” (through repetition, accompaniment, pedals, solos, tuttis, and instrumental variation). In other words, every possible function of Persian instruments and the different ways in which they may be combined is included in the provided classification.To achieve this end, the authors have utilized an analytical- interpretive method in collecting data from library references and Persian instrumental scores.

Every film inevitably takes place in an architectural space. Throughout the history of cinema, it is difficult to find works that do not contain any architectural elements. From this point of view, the use of architecture is very important in order to comprehend and understand a film. This study aims to investigate the impact of modern architecture on the mise-en-scène of the movie “Playtime”. The two main questions that this study intends to answer are: “How and by what elements modern architecture has influenced the mise-en-scène of the movie “Playtime”? and “How and why Jacques Tati has introduced modern architecture into the film?”Although architecture in cinematic works has always been present, the study of architecture about a film becomes valuable when the buildings used in that film have a particular and meaningful role in the film. The importance of the movie “Playtime” is that it seems impossible to understand this film, without considering the function of modern architecture in its mise-en-scène, and it is necessary to consider two basic conditions: familiarity with the language of modern architecture and acquaintance with the visual language of cinema, especially the function and meaning of mise-en-scène. Modern architecture, by its special features, has inspired Jacques Tati to use certain features in his mise-en-scène in the movie. The theoretical framework of this research is the functional similarity of architectural elements and mise-en-scène. At the beginning, a brief description of the historical course and features of modern architecture is provided, and then the theoretical issues of mise-en-scène and its overlap with the components of modern architecture are expressed. The purpose of this study is to investigate the function of modern architectural components in the mise-en-scène of “Playtime” with emphasis on their cinematic performance. It is modern architecture that, with its features, determines the proportions of the story. The results of this study indicate that Tati's visual comedies have fully exploited the potential of the use of modern architectural elements in mise-en-scène, comedies that are the basis of Tati’s satires on the inefficiency of modern architecture.

Postmodernism, influenced by the socio-cultural atmosphere of the era, has affected films and in particular, the narratives have seen some radical transformations. The ending sequences have also evolved to have the previous patterns and new ones. In this article, we will first examine the bearings and importance of the final sequences and the ending of the films in different periods of the history of cinema and how films end regardless of their genre, style, and period in which they have been made. Therefore, we look at how the postmodern discourse penetrated the world of postmodern cinema and merged it with different styles of the previous eras. Subsequently, along with the intellectual content of the postmodern era, we now can see an aesthetic form that affects the laying out of the ending sequence and denouement, generally resulting in the form of mixture of the codes of the previous periods and a new particular one. In this regard, by examining "Mulholland Drive", which is considered to be one of the early examples of postmodern films with unique endless endings, we see that sometimes postmodern films do not retain any predetermined pattern for their closure. This lack of modeling that brings us to unchartered territories shows that in an endless (not just open endings but ones with more questions to solve) way, the audiences are left to ponder and question the whole film. Fredric Jameson refers to this pattern as endlessness and considers it be one of the characteristics of postmodern cinema because not only is it contradictory, but also this contradiction can be seen as a problem arising from the totality of postmodern human life as a whole, in which human beings experience a complex life in the last period of capitalism and into a postmodern world depicted in the films. According to Jameson's theory, just as the political and social structure of life in the postmodern period is invisible, the endings of postmodern films are also not vivid and audiences are unable to find any endings. We have applied this theory to the film "Mulholland Drive" and shown that its endlessness coincides with the film’s structure and narrative.

“Musica Poetica” is a concept inspired by the Aristotelian system of thought, which was proposed in the field of Music by Nicholas Listenius during the Renaissance. As its title implies, “Musica Poetica” refers to the composition of music and separating its scope from “Musica Theorica” and “Musica Practica”. However, the process of developments in the field of musical composition shows that after this concept was proposed, music in the field of composition was attracted to “trivium” arts such as rhetoric. This evolution is such a turning point in the history of music that even today, there is less talk about the origin, dimensions and necessity of the concept of “Musica Poetica” itself, and most of the sources have only made a passing reference to this concept under the topic of correlation between Music and Rhetoric. The present historical-analytical research aims to answer the seminal question of what issue or issues Listenius alluded to with proposing “Musica Poetica” by exploring the historical, intellectual and epistemological background in which this concept was born. In this regard, while referring to the text of the treatises left by Listenius, an attempt was made to analyze his opinions based on Aristotelian epistemological concepts and finally based on historical evidence and the process of subsequent developments of Music. The results showed that Listhenius first by insisting on keeping constant the fluid and oral corpus of the music of his time, through musical notation, provided the most important epistemological requirement for music to enter the field of Aristotelian “Poiesis”, and then by proposing the issue of conveying the message to the audience and future generations, he caused the correlation between music and “trivium” arts. In fact, at that historical moment, “Musica Poetica” considers the text of music as the text of oration and poem containing a message for the audience, and elevates composition to a category beyond counterpoint setting and improvisation based on pre-known melodies and patterns. From this point of view, it seems that understanding and comprehending the works of historical European music requires the analysis of various dimensions and the perceiving of the origin of the concept of “Musica Poetica”.

Akbar Radi, a realistic playwright and one of the most influential figures in Iran's modern theater field, has represented the intellectual atmosphere of Iranian art in many of his works including “Hamlet with Season Salad” (1978) and “Night on the Wet Cobblestone” (1999). His play “Savior on a Wet Morning” (1979) is the only work in which the positions of the theater agents in the social atmosphere of the late 50s have been reflected in a representative way. The present study, in the light of Bourdieu's theory of action, considers the characters of the play as agents of the art and theater field including the playwright, director and publisher, literary critic, and magazine owner as well as their habitus and capital and studies interaction of this field with the field of power, in order to search beyond objective or subjective approaches and to reveal the relationship between the author's position in the theater field and his position in his work. The study of the represented theater field indicates that the tendency of the actors of the theater field in the above-mentioned decade, including producers and distributors towards fields such as politics and economy has caused the loss of autonomy of the field, and the actors who, according to their symbolic capital tried to maintain the autonomy of art and remain in the position of independent art, lost their biological and artistic life in a fragmented field. This study, with the method proposed by Bourdieu, in a documentary and autobiographical way, has followed the trajectory of the author and the main character of the play, considering the possibilities of the theater field in the late ‘50s, in order to identify the homology of the author and the main character as the ultimate goal of the study. The result of this article indicates that considering the possibilities of the studied era, the structural similarity of Radi's position in the play shows the positions of a number of independent theater artists at the end of that decade whose artistic lives were jeopardized by the slipping of the field towards the poles of politics and economy.