نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 32 (بهار 1402)

Creative play is a way to teach and learn based on the universal tendency to play that is found in all humans. One of the appropriate art tools in education is the art of drama. Drama therapy or creative drama is a type of art therapy that has achieved positive results in educational centers and can be used in the educational activities of mentally retarded children. Drama is one of the pillars of the game and due to its various aspects, it can transform many of the students' abilities from ability to action. The present research aims to investigate the effect of creative drama on the recovery and development of creative skills and attitudes of disabled children. The design of the current research is of the type of pre-test and post-test with a control group, which is considered to be applied research from the point of view of the goal. The statistical population includes 180 mentally retarded male and female students of the 5th and 6th grades, of whom 30 people (15 people as control group and 15 people as experimental group) were selected non-randomly from available sampling. The data obtained from the research were analyzed using the method of multivariate covariance and one-way covariance analysis. The findings showed that creative presentation has an effect on perceptual skills in teaching mentally retarded children and exceptional students in schools. Creative presentation has an effect on the ability to learn in teaching mentally retarded children and exceptional students in schools. Creative presentation has an effect on problem solving ability in teaching mentally retarded children and exceptional students in schools. Creative play has an effect on the development of language in teaching mentally retarded children and exceptional students in schools, and therefore knowing the effects of creative play helps solve the educational problems of mentally retarded children so that stronger steps can be taken in improving their situation. Therefore, considering the positive effects of dramatic teaching methods (creative performances) in improving the development of creative skills and attitudes of mentally retarded children, it is useful to include this subject in the educational curriculum.

Iran and Azerbaijan’s musical traditions benefit from improvisation and the composition of rich melodies, as well as pieces based on the Dastgāhi system in Iran and the Dastgāh/ Mughām in Azerbaijan. "Segāh" as one of the fundamental Modes in Iranian and Azerbaijani Dastgāh/ Mughām music has been explored and compared analytically. In this research, the Gushehs / Shobehs of the Segāh in terms of structural intervals, Tonic(Shāhed),Stop(Ist), altered notes, melodic range, melodic motion, and Modality have been investigated, and also a comparison of subscriptions and differences in their concepts and components have been studied. The results indicate that "Segāh" from the combination of the two words "Se" in the numerical meaning (three) and "Gāh" in the meaning of position is the same in both countries. The melodic range of “Darāmad” in the Iranian Segāh is limited to the modality of Darāmad and the Dastgāh is in an ascending motion. In the three variants of Azerbaijani Segāh, the “Bardāsht” starts from the highest range of each Dastgāh and reaches the main modality with a descending motion. Consequently, the melodic range of the Bardāshts is wider than the Darāmad of the Iranian Segāh. The tonic note or Shāhed in the variants of the Azerbaijani Segāh has been tempered compared to the Iranian Segāh so that the Iranian Segāh emphasizes the neutral third interval (quarter-tone), while in the Segāh of Azerbaijan this interval is the Major third commensurate with the fretting of Azerbaijani music. “Zābol” Gusheh/ Shobeh is a common mode between the two countries with the same melodic pivot and Shāhed, which means the third interval from the shāhed of the Segāh. "Muyeh" as an independent mode is performed in Iranian music with a trichord structure with the melodic pivot concentrating on the notes "C", "D" quarter-tone, and "E" flat, and in Azerbaijan music, as a Gusheh of the "Mayeh-ye- Zābol" Shobeh with the melodic pivot concentrating on the notes "G" flat, "A" flat and "B" Double flat. Also, the "Mokhālef" Gusheh/ Shobeh is prevalent in both musical cultures, with the Shāhed note and the pivot of the sixth interval from the Shāhed of the Segāh. But in Iran and Azerbaijan, it has differences in structure.

Adaptation is a kind of interpretability of art or a way to be influenced by it in which the artist recreates a new work of art by interpreting another work or following it; in this case traces of the previous works can be seen. Comparative studies of adaptation is a branch of comparative literature that deals with the relations between the two media. Adaptation has a special place in cinema and most of the prominent works in the history of cinema have been adaptations of literary works. The importance of plot and storyline was evident from the first films made and shown by the Lumiere brothers. This research studies the adaptation in cinema using Gerard Genette's theory of hypertext and tries to scrutinize the issue of communication and interaction between two popular media, namely literature and cinema, by examining a recent example of contemporary Iranian cinema and literature. Yadollah Samadi's "Father of the Other" is an adaptation of a novel of the same name written by Parinoush Sanei in the field of fiction with a psychological and educational approach. This study, while drawing upon the theoretical framework of Gerard Genette's views, deals with quantitative and pragmatic changes in the intertextual interaction between the book and the film. The study and categorization of various applied (in terms of motivations, values and visual representation) and quantitative changes (addition of events and characters decreasing or increasing the narrative) shows that the film has facilitated the comprehension of the main work and has been able to establish itself as an independent work by interacting with the original text through eliminating the flaws . In other words, the series of events that were not justified in the chain of cause and effect or were not in line with the plot's progress were logically removed in the film. The most considerable transformation of the film is related to the value and motivational transformations, which is through the change of the mother's outlook and worldview towards her personal and family life and the removal of those moral characteristics of the father's character that are  not in harmony with the film's atmosphere. In conclusion, it can be said that the film is a faithful adaptation of the novel, with the difference that it has proved more sucessful than the book in terms of characterization.

The theoretical foundations of Iranian music, due to the lack of the necessary standards, do not have a comprehensive theoretical basis in the field of the registration of musical sounds. The numerous concepts and terms in this field, based on the oral traditions of Iranian music education, often have not exceeded the level of providing qualitative descriptions of sonic ranges. Identifying and explaining concepts related to the subject of registration, and examining the vocal range of Rāstkuk, as the vocal range of Iranian male singers, are the main issues of this article. Therefore, specifying the position of the range of Rāstkuk in the musical echelon and explaining its subsets sonic range, is the main purpose of this research. This research is fundamental and qualitative and was done in a descriptive-analytical way. The data of this research is based on primary and library sources. The use of Muslim philosophers’ ideas about the separation and classification of perceived phenomena by human has formed the theoretical framework of this paper. The findings of this research show that the results of the research conducted in the field of describing and explaining the term Rāstkuk are not consistent with the realities in the performance of Iranian male singers, and this concept generally represents the gender of singers. Examining the performance tunes of some Iranian male singers, from the three time periods of the late Qājār era, Pahlavi era and the contemporary era, shows that the Rāstkuk range includes four sonic sub-ranges, which are named as the compasses of Rāstkuk-pāein (similar to Bass), Rāstkuk-vasat (similar to Baritone), Rāstkuk-bālā (similar to Tenor), and Rāstkuk-ghis (similar to Alto) in this article. Among them, compasses of Rāstkuk-vasat and Rāstkuk-bālā are used in singing performance and compass of Rāstkuk-pāein in the field of singing education. According to the findings of the article, compass of Rāstkuk-ghis has no use in the contemporary era. Each of the compasses of Rāstkuk range is divided into three separate registers: Bam (down), Miyane (middle) and Owj (up). The register of Bam with an interval of perfect fourth, the register of Miyane with an interval of perfect octave and the register of Owj with an interval of one perfect fifth constitute the maximum limit of a vocal compass from down to up. Among these cases, the register of Miyane is an important interval in the voice of Iranian male singers.

The experience of architectural space and place in cinema takes place in different dimensions. The technical characteristics of the film have been the subject of more research since they are more objective. Nevertheless, there is another dimension in which the experience of a place is reflected in the screenplay's structure through the scene's description and the characters' dialogue. In such a context, regardless of the technical norms and limitations of converting words into cinematic images, the characteristics of places and the relationships between characters and those places are freely and profoundly described and emphasized through words. This research examines the narration of place in the screenplay of “Tokyo Story” by Yasujirō Ozu and Kogo Noda. Because of the centrality of the experience of place, the significance of the subject's (Man) relationship with it, and the narrative's focus on the effects of modernity on human life and relationships, a phenomenological interpretation of place based on Martin Heidegger's philosophy is considered. This article aims to provide a phenomenological comprehension of the architectural elements that influence how the place is narrated in the “Tokyo Story” screenplay and then explain the subject's relationship with the place based on this interpretation. Since it was significant to know how to describe and experience the place, the research was conducted using the phenomenological method, and the screenplay review was also performed using the text content analysis method.In the phenomenological understanding of physical and non-physical components in the description of a place, its characteristics are revealed regarding the surrounding environment and the context of its placement, daily life, people and their work and activities, the natural atmosphere of the place, direct experience, and auditory sensory perception. In the relationship between the subject and the place, also different relations, such as the feeling of dwelling or homelessness; emotional dependence or distance, incompatibility, and alienation towards place; reflecting upon the state of dwelling, attempting to establish the place in the experience, and connecting the inner feelings, emotions, feelings, and memories of the characters with the place are all understandable. Beyond these, the findings of the research show that places can play a role independently in accordance with the content of the narrative regarding the effects of modernization on the disintegration of family relationships and reflect this break.

Using visual signs in the design and architectural landscaping of the scene in the Marvel cinematic universe creates the concept of the place and brings metaphorical and implicit messages during an adventure story. Considering the semantic concepts and ideas of architecture and the development of design methods in the contemporary period, this topic can create a proper connection between the identity-building elements of architecture and the identity-giving scenes of the superheroes of the story, while expressing the story powerfully. This study was an attempt to identify explicit and implicit signs in processing and measuring the compatibility of common architectural indicators in buildings related to the superheroes of the story and characterizing the content of Marvel cinematic universe. Thus, the primary question of this study is what is the compatibility of architectural signs in story scenes with the characterization of Marvel superheroes?  For this purpose, the present study’s method is descriptive in nature and relies on content analysis in a qualitative-interpretive paradigm and semantic and linguistic semiotics. It tries to read the meanings and metaphors, and the implicit link in the ideas and concepts of design in the housing building or the primary centers of activity in Marvel cinematic universe. The results show that each superhero created by Marvel, with a unique personality and special abilities, takes its own story path. In this regard, based on the characteristics that the writers have created for the afore-mentioned characters, in addition to the synergy of people together, formal, functional, and conceptual commonalities can be seen in the emergence of the design concepts of the houses of Marvel superheroes and their primary activity centers. This issue has been changed to some extent by the differences and the unique characteristics of each character or place by referring to adjectives such as "breeze and brave", "powerful in the sky", "hidden and powerful", "optimal and efficient", and having "power", "speed", "boldness", "flexibility", and "having high knowledge and intelligence". Therefore, while maintaining great diversity, the common activities of the characters have helped form a certain identity.