نشریه تئاتر
سال دهم شماره 92 (بهار 1402)

Dialogue writing methods in dramatic theatrical text is considered one of the most challenging fields of study in dramatic literature. Its a relationship with performing arts on the one hand and language studies on the other hand. The scope of the discussion about the subject is also wide in the field of interdisciplinary studies. Based on this, it can be claimed that the linguistic turns of the 20th century also affect the fields of dramatic dialogue writing. One of the language philosophers who played a major role in this linguistic turn is the late Ludwig Wittgenstein. With the idea of ​​language games, he brought expanded the fields of meaning making of to language bringing with it into new contexts. One of the elements that can be considered as a common point between art and language in this regard, is the field of imagination. Imagination is also a language game that is used and manifests itself from the presence of language users. The purpose of this research is to know the method of developing and expanding the way of dramatic dialogue writing using the idea of ​​the language game of imagination according to Wittgenstein. To understand this method, this article has chosen the play The Death of Yazdgerd by Bahram Beyzai. The question is, how did Beyzai benefit from the language play method of imagination in expanding the dramatic language of the text of The Death of Yazdgerd? The hypothesis can also be defined in such a way that it seems that Beyzai in the language game of imagination has chosen network methods to expand the language of conversational writing. The current research is based on the practical purpose, in terms of the library information collection method, which is based on the qualitative method and based on the descriptive nature. The descriptive method is the method proposed by Wittgenstein in dealing with language as a philosophical concept. The result is that Beyzai has used denial, acknowledgment, and the method of understanding-aspect to shape the basic rules of his language game, in order to deeply doubt the secondary grammar of his language, that is, due to the doubt he created in his representational position doubts about the date of Yazdgerd’s death.

Aqle Sorkh treatise of Sheikh Shahab al-Din Yahya bin Habash bin Amirak Abul Fottuh Suhrvardi, nicknamed Sheikh Shahid, a famous philosopher of the 6th century A.H. and the founder of the Ishraq school of philosophy, both from the point of view of form, structure, and narrative logic, and from the Aristotelian point of view, contains dramatic elements and features It is a in its show. The value of the concepts, content and hidden meaning in this work can be a guide for performers and writers in the field of drama and theater due to the wisdom included in it by Sheikh Eshraq. This treatise, with its dramatic capacities, draws a journey that leads a person in pursuit of his individuality and in the direction of knowing the of his existence, towards a transcendent truth that was once shrouded in darkness and hidden away from his eyes. The existence of elements such as plot and conflict, character, dialogue, time and place of drama, crisis and chaos and disaster, etc., which are considered the basis of dramatic text from Aristotle’s point of view, can be deliberately and scientifically evaluated with the knowledge of the Eastern worldview hidden in Red Intellect. The following article, with a comparative approach and relying on the descriptive-analytical research method and using library sources, explains the dramatic aspects of the treatise Aqle Sorkh, of course, based on Aristotle’s opinions on the art of poetry. And It evaluates and evaluates this ancient literary tale, through a descriptive and comparative study, in order to analyze its representational capacities - which are sometimes only examined in the framework of ancient tales, - through a descriptive and comparative study. And In this way, by entering the realm of drama, present the work can be presented to the audience of ancient literature and dramatic literature.

In recent decades, we have witnessed multinational performances around the world. Actors who come together with from different various nationalities, cultures, languages and with different techniques and to perform pieces. The question is how can acting can be in such performances, and with the hypothesis of this research being is that multinational performances affect the acting method and are different from conventional and psychological acting. To answer the question and prove the hypothesis, reference is made to the role of multinational actors in the Invisible Cities project, directed by Pino Di Buduo, which was performed at the Fajr Festival of Iran (2018) and the Potlach Group Festival in Italy (2018). In this regard, a structured interview was conducted with the multinational actors-performers participating in these two countries. and They were asked about the production process of such performances, and their effects on the performers during the rehearsals, during the performances and over the following years. Therefore, The performer’s exposure to four main categories: text, director, partner and spectator were examined. The result showed that in the process of multinational performances, the actor becomes the performer. Therefore, the performer must be more creative, more flexible and dominant, have higher physical and mental abilities, and in this regard, needs training and education.

An important issue that arises in relation to theater in the age of modern media is the confrontation or interaction of this art from with the new media. The purpose of this study is to design and validate the a model of theater survival in the field of new media. This study is uses a cross-sectional research design in terms of its method and timespan of for data collection. The statistical population of the study includes the actors and activists of in the country’s theater scene. Using Cochran’s formula, the sample size was estimated at 370 people and sampling was done by using a simple random method. To validate the pattern of theater survival in the field of new media, the partial least squares method and Smart PLS software were used. The data collection tool was a questionnaire that was validated by for structural validity, convergent validity and divergent validity. The reliability of the questionnaire was also assessed using Cronbach’s alpha and composite reliability. The results show that the new media component is influenced by the components of technology, the digital world and the virtual world. It was also found that the role of governments, artists and history in the third theater is evident. This is Because theater is rooted in history and developments in this field must be trusted by taking acknowledge historical developments into account. Finally, the results showed it is the third theater that can turn people into a theater audience by considering their views and ultimately guarantee the survival of the theater.

The meaning of the myth expresses different parts. In other words, symbols and signs have made beliefs and rituals believable among different ethnic groups in different eras. Mythical symbols appear in the form of stories, art, and culture in social life, and express psychological views in societyFor society. For Gilbert Doran, myth is a dynamic system of symbols, archetypes, and a system that seeks to stimulate narrative through archetypes and symbols by stimulating stimuli. Theater as an important medium; demonstrates the power of myth-making with tools such as the role and actions of actors, costumes, and makeup. In this research, King Lear Theater, performed at the National Theater in London in 2018, is analyzed with the mythological approach of the time. Inspired by the mythology of Gilbert Doran, this article examines and analyzes the character of Shakespeare’s King Lear. The purpose of choosing this play is due to the presence of a character named King Lear who has a special myth and archetype and how he communicates and interacts with those around him during the process of the play. The purpose of this study is to find the answer to the question; of what are the symbolic elements in the creation of the character of King Lear, and how can a significant relationship with the theme of the play be established through mythology? This study is a descriptive-analytical method, and library sources and also theatre performances are also used. The results show that through three stages of Gilbert Doran’s mythology, (symbolism, psychometrics, and mythology), symbolic, psychological, and mythological elements in the character of King Lear can be discovered, and this which creates a connection and with the audience. They become s more understanding with the character of the king. According to the three stages in the mythical critique of Gilbert Doran, in the symbolism section, the symbols and signs of clothing in King Lear’s character were analyzed as three symbols of power, fight, and madman, which are the three stages of King Lear’s personality in the play.

One of the most important issues raised about art is its relationship with the real world. Plato condemned art. In his opinion, art was a mere imitation of the elements of the world, and because of this, it distanced the audience from the truth. In confronting this opinion, Aristotle considered art to be a spontaneous and compensated imitation which possesses the unique capacity to convey meaning through its structure, influencing the perception and emotions of its audience. Rancière criticizes these two ways of thinking about art, which he calls the Ethical and the Representational regime respectively, as he believes that they endorse the establishment and upholding of a hierarchical system in society that subordinates individuals according to their function and position, and thereby perpetuates the existing social order. He calls this system the distribution of the sensible. In his theory, he argues that conveying the message through artwork is not achievable, and that the effectiveness of art can only be achieved through a revolution in the sensible and redistribution of it which happens in the Aesthetic regime.The current research studies the play Pardeh-khaneh by Bahram Beyzaie as an example of a work that can not cannot be included in the framework of the aesthetic regime in a descriptive-analytical way and by referring to library data. Through the logic of consensus, this play divides its world into two separate and opposite groups, which can be seen as corresponding to the dualities of dominant/subjugated and good/bad. The members of each group are similar to each other, and are under the influence and control of a transcendental component in a pyramidal form. This play advances a single action based on a coherent plot and finally reaches a certain conclusion through which the playwright wants to convey a certain knowledge to his audience. Therefore, by refering to Rancière’s theory, this play is placed in the realm of representational regime.