نشریه هنرهای زیبا - هنرهای نمایشی و موسیقی
پیاپی 77 (بهار 1402)

This research aims to read the writing of the inexpressible by looking at the works of Samuel Beckett and Gertrude Stein. In this way, by referring to the idea of Gertrude Stein's Landscape theatre and Beckett's late works, research would study the materialization of the dramatic text. Specifically, Gertrude Stein's plays and Beckett's writings in his later works (Not I, Footfalls, That Time, Breathe, Fizzle 5) are examined. This complex and deconstructive written form, by re-identification of writing, moves towards a self-referential text to the archeology of the post-dramatic theatre. Post-dramatic text, which is self-reflective, looks for a change in perceiving the text by the other elements in the scene in coherence with the text, aims for the audience for new experiences in the common realm of senses, and reconsiders the other texts in the performing arts. To form an experience for the audience of his dramatic works, Beckett uses images that include language deconstructions and self-referencing. In this way, he deconstructs the dramatic text in the meaning of conventional representation. Gertrude Stein's idea of Landscape is based on reaching the essence of what is happening and in criticizing the conditions of the theater and the representational structures that it puts forward. Stein seeks to reveal the essence that unlocks the language of the play from happening elsewhere and rebirths it. Also, Beckett, in his later drama, removes his works from the realm of knowing and signs. He borrows words to express the inexpressible and, in this way, he re-arranges the representational form in text and performance. This research looks for the answers to the Beckettian formation of writing by interrelating absence and the object. Like Maurice Blanchot, Beckett, in his latest plays, starts from nothingness. Phenomenologically, this could be described by the concept of "lack". We may notice a disorder in the order of playwriting in Beckett's writing structure and content. Beckett uses this formation for shaping the meaning, from the representative image, like an internal move in the Derridean approach. In some of his other texts, the initial image can be referred to as an anthropological "difference". He represents the edge of war and catastrophes with so many victims. These efforts are the archeology of the de-focalization of text landscape in the post-dramatic theater. This essay aims to associate Beckett's later drama - from Krapp's Last Tape (written in 1956) to What Where (written in 1983)- with the intertextuality of Gertrude Stein’s writing. The “lack” as a Lacanian point of view is taken into consideration in this study along with the modern man landscape. Both of these sights relate to victimhood and are in the realm of representation. A path toward embodied texts could also be drawn from them, which may reflect the traumatic situation of the contemporary man on a post-sacrificial world (as Agamben mentions). Beckett and Stein express the inexpressible in their plays and theatre by starting with the void between the words. They make a self-reflective text, which words digress the meaning.

The home is the first platform for the formation of one's interactions with others. People in different spaces of the home interact with each other in various ways including eating together, watching TV, talking, arguing and celebrating. The interior space of a house plays a role in the manner and quality of these interactions. During the last four decades, major changes have taken place in the physical components of Iranian home interior design. These changes are sometimes related to the functionality. The changes can be seen in designing elements and details such as openings, furniture, lighting objects, and other details. Physical changes in the house are generally associated with functional changes in the behavior and the use of the interior space in the home. Although these changes can be easily recognized in the physical realm, their impact on individuals’ behaviors and interactions is not easily recognizable. Cinema, is a statistically approximate representation of both the physical and functional aspects of time. Cinema and architecture show commonalities in their subfields, such as stage design and interior design.
The purpose of this study is to extract the physical and functional changes in the home using the analysis of film scenery in the last forty years, as well as the impact of functional changes on the way people interact with each other. The necessity of this research is due to the fact that in the internal resources of the country, less attention has been paid to the classification and categorization of changes in interior architecture in this period.
This is a qualitative research with an implementation perspective. The data analysis method is comparative. Fifteen examples of family movies from the genre of Iranian films were selected for the research, where considerable amount of movie was spent inside the home. By extracting images from the films sequences and analyzing their stage design, the interior physical and functional changes as well as the impact of these changes on the way people interacted was identified and classified.
Findings show that changes of functional components in the last forty years, includes changes in the house plan, such as the method of spatial separation, removing interior walls and boundaries separating spaces, which resulted in freedom of movement in the space and increase direct interactions inside the home. In this research, after analyzing the movie sequences throughout four decades of Iranian cinema, it can be seen that there have been major changes in the way of using physical components. As another example, high rise buildings and increasing popularity of living in apartments has reduced the interactions between the interior of the house with the exterior spaces such as courtyards and walkways. While the impact of changes in physical components such as light, color, spatial proportions cannot be directly evaluated on the way people interact, using them in the expression of narrative script plays a prominent role.

Cinema is one of the most important phenomena of the modern age. Cinema is a way of seeing, that is not solely dependent on the human eye, rather it is capable of manipulating all human senses so that it affects thought and perception. The simultaneous development of cinema and modern architecture in late nineteenth century instigated important changes in thought, experience and progressive lifestyle, and became an indication of the close relationship between these two arts. In this context, the French philosopher Gilles Deleuze offers a different world-view based on a redefinition of the concepts of movement, image and time. This research, which was carried out with a theoretical, qualitative, descriptive-analytical approach, proposes Deleuze's unique definitions of image, movement and time as a means to illustrate the close relationship between cinema and architecture. The paper begins by explaining how cinema, architecture, or any other art, can be ways of thinking and creating new concepts. It then shows how Deleuze combines philosophy and cinema to define three types of movement: “Movement and Instant,” “Privileged-Instant/Any-Instant-Whatever,” “Movement and Change.” He goes on to categorize the “Movement-Image” into three types: “Perception-Image,” “Action-Image,” “Affection-Image.” In this theory, everything is an image. In other words, all the components and events of the universe are a collection of images that interact and react to each other. These interactions occur in the context of time, resulting in the concept of “Time-Image” and “Movement-Image.” Time for Deleuze is the life force for movement and becoming. Time is nothing but the present, or the present that has become thought. The concept of “Time-Image” is a challenge, with the aim of thinking about the potential of the flow of time. The image is not always in the present, but at different levels of time, past and future. In the concept of “Time-Image,” time shrinks and expands in relation to the past and the future. These concepts offer an alternative understanding of the relationship between philosophy and art and our perception of the world.  In this philosophical approach and according to such definitions of image and time, there exists a much closer relationship between cinema and architecture. The concepts of Movement-Image and Time-Image can be defined as fundamental concepts of both of these arts. The three concepts of Perception, Affection, and Action and the intertwining of Time components with them, can be appropriated for architecture, thus changing our understanding of architectural space and design. By defining and redefining concepts in cinema and architecture, Deleuze develops a new way of thinking in which art, philosophy, and science together form the story of life. In this alternative mode of thought, everything is image, and everything in the world is a set of images that affect and react to each other. When reality is composed of images that, in combination with movement and time, create feelings, actions and complex human concepts, then the value of art, especially cinema and architecture, gains a new significance due to the fast that this era has become more dependent on images.

Cinema and architecture are both art forms in which space is a significant component, and both express their temporality through space. In cinema, space can serve as the main character. This research aims to study the phenomenological meaning of “house” from a cinematic perspective. The unforgettable houses in cinematic experience are imaginative buildings that can transfer the con-sensory experience to the audience. This study takes a qualitative approach and uses the descriptive-analytical and phenomenological methods. The research data collection tools are; documentary studies and personal interview with the film's director. What makes the main pillar of this article is the concept and the manner of residing in the house as the first spatial experience. Cinematic space can be viewed as a space through which the existential nature of the house can be reliably perceived by human senses of sight, hearing, and touch. While analyzing the meaning and concept of the house in the cinematic architecture of the Chess of the Wind (Mohammadreza Aslani), which was based on the theories of Christian Norberg Schultz and Juhani Pallasmaa, the dramatic meaning of physical and non-physical elements of space is investigated. The location of this film possesses an exclusive position and shows the manner and the moods of characters of the film. Due to previous knowledge of the director and scene decorator of the location, the house has gained an element of identity and individuality in the film. This movie is written based on place. Analyzing the architecture and spatiality from a phenomenological perspective allows the audience to come to a robust conclusion; namely if the filmmaker personally conceived the nature of residential phenomena, his films are the products of his experiences and the audience could conceive, decode and experience these points in his own turn. The experiences of the director possess a determinant role in affecting the meaning of the place. When the director has written the script based on familiar locations, he can define and coordinate the characters in his preferred spaces. In this movie, the house for the sake of its residents has lost its real meaning and has turned to a precious consignment for attaining a position of power. The characters are introduced according to the territories they occupy and the share of natural light they receive. Thereby, each character understands space in a different way. None of the characters is regarded as the main character, and the central character, the house, becomes the residents' plaything. This is the house that quarrels with the characters and evicts them because of their lack of harmonious relationship. The house becomes an active place during the narrative, an outstanding Qajar house whose perspective at the end of the film is designed in order to make a viewer want to live in it. The house's residents have ceased living in the house and have also ceased living in order to own it.

Music and football are both identity-enhancing phenomena that come together in a third phenomenon called fan chanting. Fan chants are considered a musical behavior from the perspective of ethnomusicology. Ethnomusicology does not have an object-oriented approach and emphasizes more on performance. In the duality of music/work-performance, ethnomusicology gives more importance to performance. Music is a social activity through which people create their identity. In relation to the issue of identity, ethnomusicology specifically deals with the contribution of music in the formation of social identity. In this connection, four aspects are examined: 1. music as a symbol of identity, 2. music as an opportunity to share identity, 3. music as a factor in creating an emotional quality for identity, and 4. music as a factor in creating a positive capacity for identity. The formation of fan chants is based on participatory performance, where the emphasis is on the maximum participation of people and there is no mention of the duality of artist-audience. With this perspective, performance does not exist for the sake of presenting musical works, but musical works exist so that they can provide artists (fans) with something to perform. One of the common functions of music among different cultures is the issue of expressing identity. One of the aspects of identity is ethnic identity, and fan chanting becomes a vehicle for the manifestation of this type of identity in multi-ethnic countries. Based on field research conducted in Tabriz and using the netnographic method, the main musical sources used by Tractor fans to make chants are as follows: Iranian, Turkish and Azerbaijani popular music, religious music, political slogans related to the Islamic Revolution, chants by fans of Turkish football teams and folk music. Melodies are used from mentioned musical sources, with changes in the original texts. After changing the text, two modes are possible; either the original melody is used in a simpler way, or basically "de-melody" happens and the slogan is sung on the platforms with an emphasis on keeping the rhythm of the original source and with new words. Of course, we should not consider "simplification of melody" and "de-melody" as an absolute binary, but in fan slogans, the use of melody is dynamically changing between "simplification of melody" and "de-melody".
These chants, especially since 1388 (2009), with the re-ascension of Tractor to the Premier League of Iran, are widely associated with identity themes. From 1388 (2009) to the beginning of the 1390s (2010s), under the influence of ethnic movements in the 1380s (2000s) in Azerbaijan, these chants took on a political aspect and emphasized issues such as autonomy. After that and with the security measures, the political aspects become less prominent and the cultural aspects become more prominent in the chants. Emphasizing Azerbaijan as a motherland is one of the most important concepts raised in the repertoire of fans' chants in recent years. Emphasis on Azerbaijani identity often occurs in the text, and in terms of musical genre, there is no limit to the use of non-Azerbaijani music.

Through a combination of descriptive, analytical, and comparative methods, the present article explores and demonstrates the feasibility and method of obtaining new modal entities through modal fusions by studying two sample groups, including "Dād-o Bidād" and Dastgāh-e Shūr with its related modes in Radif of Abdullāh Davāmi. The information for this paper has been gathered through the analysis of audio and written materials as well as the author's own practical experiences. This research shows that the fusion of modal spaces based on the initiative and knowledge of the performer is a distinct process from "modulation" in Iranian classical music. In "Modgardi" (modulation) or what is known as "Morakkab Navāzi/Khāni," the border between the modal entity of "A" and "B" is wholly defined according to the modal behavior they express (for example). But in the process of "modal fusion,” the same entities "A" and "B" create a space that, depending on the narrator's ability, will be musically equivalent to "AB,” "BA," or even "C.”
One of the potential feasibilities in the repertoire is combining two modal entities and obtaining one modal entity from them. One of the prominent examples of this feasibility is "Dād-o Bidād,” invented and created by Hossein Alizādeh. This case, which is considered one of the notable examples of creativity in Iranian classical music in the musicology literature, was created by combining the modal characteristics of two entities, "Dād" from Dastgāh-e Māhūr and "Bidād" from Dastgāh-e Homāyūn.
The bottom layers of the Radif reveal that the mentioned feasibility has been used and introduced in a completely traditional manner inside the Radif. "Zirkesh-e Salmak," as a turning point in the construction of the Dastgāh-e Shūr, acts as a bridge between two general sections, "Shūr" and "Salmak" or "Shahnāz.” In this modal entity, the modal behavior of "Shūr" and "Salmak" are combined, like "Dād-o Bidād.” Therefore, the “Zirkesh-e Salmak” is considered as an initial space for the occurrence of “Salmak” at macro-level of the Dastgāh-e Shūr. Apart from "Zirkesh-e Salmak,” this potential modal feasibility has been expanded and actualized in "Afshāri" and "Dashti.” In these two Āvāz, by using the exchange of Ajnās (s. Jens) and pointing to the spaces before and after the "Salmak,” a modal behavior emerges, in which the fifth degree higher than the "Shūr" is known as a "Moteghayyer".
Based on the analysis of the present article, it is evident that "Moteghayyer" is one of the main tools in the process of modal fusion. As a result of such processes, the Ajns that have the most overlap with the entities that are used in the modal fusion process are those that have the closest relation to each other.
The concept of modal fusion lies in the definition of the concept of Mode, and it has always been an integral part of Iranian classical music, and the examples examined are only examples of this phenomenon. An additional example that can be studied separately is the poem Darmad-e Rahst Panjgah, which exhibits a compound behavior combining the traits of Māhūr and Dād.