نشریه تئاتر
سال نهم شماره 91 (زمستان 1401)

After some terracotta, seals, and antiquities were found on the side of Halil River, after the flooding in this permanent river due to heavy rains that occurred in Jiroft in 2000, some archeologists around the world came to this area to do scientific research and explorations. The conducted explorations led to the advent of the most ancient civilization of the East, which revealed a surprising identity of people with good taste and specific traditions and rituals. This study investigated the ritual performance signs in motifs of seals discovered from the ancient civilization of Jiroft to identify and introduce a new background of ritual performances in Iran. For this purpose, an introduction to ritual performances was written asking the question that whether the confirmed theory of researchers still works about determining the history of ritual performances or not, and then the research background is expressed then findings of Jiroft civilization are examined. In the next step, the similarity between ancient motifs of the world and discovered motifs of this civilization, which represent a ritual per romance is assessed. This paper aims to confirm that the ritual performances of Iran have an ancient background beyond our previous knowledge, and the results indicate that the ritual performances of Kerman are possibly the oldest ritual performances of Iran, which go back to 5000 years BC.

This article is an attempt to explain the definition of “secondary imagination” based on Samuel Taylor Coleridge’s discourse and study the effect of it on the anxiety arising from Loneliness and Death in “The Story of the Panda Bears Told by a Saxophonist Who Has a Girlfriend in Frankfurt” play by “Matei Vișniec. The main direction of article is the perception of “secondary imagination” concept based on the discourse of Coleridge and the perception of the conceptual and semantic difference of secondary imagination with the primary imagination and fantasy in order to prove this point that the secondary imagination has a key role in alleviation of anxiety caused by Loneliness and Death inside the Characters of Matei Vișniec’s work. This article also has studied how secondary imagination works as a defense mechanism in selected plays that helps us to cope with the anxiety caused by loneliness and death from the perspective of existential psychologists and it is mentioned that how the secondary imagination takes the place of defense mechanisms in this play. The Result of this study answers this fundamental question that based on Samuel Taylor Coleridge’s discourse, why and how the secondary imagination can eliminate the anxiety arising from Loneliness and Death inside the Characters? This essay that was written in the form of “qualitative –Analytical” along with charts and tables reasonably shows that how the Characters of Matei Vișniec’s play use the secondary imagination that leads to Creation a new world in their mind with a new Cause and effect relationships, relieve their anxiety of loneliness and death.

Montage is a tool giving form to everything and theatre is no exception. This essay seeks to examine collaboration in Odin theater, then answers a question regarding the existence of an autocratic montage in its performances. A collaborative theatre redefines the typical role of actors, directors, and other artists involved in the creation process. In this kind of theatre, everybody can tell their story and interpret it, and there are no forces to connect interpretations or materials the group provided. It is believed that Eugenio Barba's theatre is an example of collaboration. He encourages actors and other artists to participate in the creation process. He defines Actors' Dramaturgy and values their efforts in creating steps. However, the finding proves that in each phase of the creation process determined by Barba, actors do not have their voices. Even in their dramaturgy, they are restricted to Barba's plan enforced on them. This plan also forces audiences.In the present study, the data analysis was qualitative, and it was conducted based on literature, interviews, and theatres performed by Odin theater.There are some researches regarding montage in theatre, such as Montage as the Universal Creative Device: Interdisciplinary Approach by Liudmyla Korotkova and Form and Meaning in Avant-Garde Collage and Montage by Magda Dragu. Some essays about Eugenio Barba, including The Director's Folly: Eugenio Barba. The Creation of Performances by Elena Masoero, and Study of Actor’s Dramaturgy in Dynamic Post-Modern Theatre Based on Eugenio Barba Theory By Mohsen Hakimi and Hamid Reza Afshar.The newest aspect of my research is investigating the autocratic montage in a communal theatre, which is not researched in the above-mentioned essays. Montage also is an important concept in Robert Wilson and Romeo Castellcci's theatre. Investigating their approaches to montage is the suggestion for further research in this area.

This research was formed by studying the narration pattern in the plays that were performed in the form of documentary theater in order to answer a question which is "To what extent do the narration patterns contribute to the advancement of the documentary play?" The current research was conducted with a descriptive-analytical method while examining and presenting a clear and comprehensive definition of documentary theater with the aim of introducing and opening a new chapter in the field of documentary theater. The result of this research in the qualitative field is focused on issues such as narrative patterns and narrators and their types in the narratology of documentary texts to what extent they contribute to its advancement. It has become more serious since 1390 and we are facing more documentary works than in the past decades in the country's theater scenes, although the amount of these works is still not so much that we do not consider this trend weak. In this regard, it can be said that the non-payment of the narrative model of documentary theater in Iran is academic in the country's universities, therefore, students and academics are also weak and underemployed in this field, and the understanding and recognition of the model of documentary theater narration among directors and theater people is very low, and this It makes them not go to work in this field. Theater audiences are often story-loving, and due to the fact that the storytelling pattern in documentary theater is less than that of conventional theater, this type of theater has a smaller audience and it can be said that in Iran we are facing a lack of narrative pattern flow, and narrative patterns are the driving force behind documentary drama. It has a significant contribution.

What is striking about tragedy for Hume is the paradoxical nature of 'tragic pleasure'. Hume asks why we enjoy watching tragedy - a show full of pain and suffering? From Hume's point of view, this pleasure is not rational. Hume tries to explain this paradox in his essay about tragedy through the theory of "conversion". According to this theory, what we call the impression of tragic pain is overcome by a stronger impression called aesthetic pleasure. As a result, what is initially terrifying and painful becomes a source of pleasure through the aesthetic expression. Therefore, Hume's view of tragedy and the solution he offers to justify the paradoxical nature of tragedy are influenced by his subjective and psychological approach to the concept of taste and beauty. Hume believes that every horrible and painful thing can turn into a source of pleasure through an aesthetic expression. In this article, while describing Hume's theory, we will show that what is called “tragic pleasure” cannot be reduced to the theory of "conversion". Because according to Hume's own view, a stronger impression cannot be defeated by a weaker impression. Hume's idea reduces tragedy to its "idiosyncratic" values (artistic expression). Our hypothesis is that far deeper elements are involved in making tragic pleasure. Emphasizing the views of other philosophers such as Aristotle and Nietzsche, we will show that the tragic pleasure can be the result of a kind of tragic recognition (Anagnorisis) and catharsis. In other words, our hypothesis is that the transformation of suffering into pleasure in tragedy is not a purely psychological category, but first of all an epistemological matter. Also, the example of tragedy shows that the beautiful - as Hume and later Kant thought - cannot be reduced to the taste judgment. Because then, as a rule, we shouldn't enjoy tragedy.

The wooden horse play is a set of traditional and ritual puppetry performed in different regions of Iran using skirted wooden horses. There is no much historic information about the origin of these shows in Iran, and a few researches which has been done only indicates the areas and methods of the performances in different regions of Iran. The present study examines the first examples of this kind of performance mentioned in Pahlavi, Persian and Arabic texts through the library research method and historical research, and then tries to find the roots of this performance through mythological analysis in Indo-European culture. At the end of the research, the hypothesis is proposed that the wooden horse play has its roots in the horse totem in Indo-European culture and later became popular as a play under the name of saddle play or Korra in Iran and then spread across the Arabian Peninsula (Hejaz) into the Islamic world.