نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 33 (تابستان 1402)

Metafiction is one of the methods of postmodern literature that entered Western fiction writing in the 1960s, and its first signs were seen in Tristram Shandy 's novel by Laurence Sterne in the 18th century. The success of postmodern literary genres such as metafiction led to their entry into the field of cinema, and many screenwriters and directors were inclined to use these techniques. In recent years, Iranian cinema has also tended to produce more works with a postmodern approach. Considering the importance of studying postmodern art in the field of cinema and the tendency of artists towards new techniques, this research tries to explore postmodern approaches, especially in the field of metafiction with the theory of Linda Hutcheon, in the 1390s of Iranian cinema on the two films “A Dragon Arrives!” Directed by Mani Haghighi and “A Hairy Tale” by Homayoun Ghanizadeh. The research is descriptive-analytical and the film content analysis method is used based on library sources. The main feature of metafictional works is the contradiction in their narration. This paradox means that the author of the story must constantly convince the audience that they are reading or seeing a work of fiction (imaginary) and on the other hand, he must make the audience believe this work of fiction. Short circuit is another feature of these stories that the writers allow themselves to enter into the narrative and be with the audience and its characters. Intertextuality is also one of the things that can be traced in all postmodern literature, including metafiction. Mani Haghighi in the movie “A Dragon Arrives!” tries hard to create a real and imaginary situation for his audience based on Linda Hutcheon 's historiographic metafiction and by entering the story as a writer himself, he changes the process of narration from documentary- like truth to a fantasy police movie. In his first cinematic experience, Homayoun Ghanizadeh also tried to use the characteristics of metafiction in the movie “A Hairy Tale”, taking into account postmodern narratives in theater and literature. The characters of the film are constantly going back and forth in different intertexts, and the border between reality and fantasy is blurred in the barber shop scenes. Postmodern art is one of the most important approaches in contemporary art, and studying and knowing their elements will help writers and directors to create better narratives.

Tura was one of the manifestations of the folk culture of the North Khorasan peoples, which has been forgotten today. This cultural effect was originally one of the satirical and critical theatrical rituals of the people of that region. The current research is qualitative and with the aim of describing Tura and understanding the causes of its decline, it is based on the paradigm of interpretivism, which has used description to understand Tura and the method of casual layer analysis (CLA) to discover the causes of its decline in recent years. The results of the research on the understanding of Tura based on the fourfold understanding of producer, audience, text and context show that Tura is a kind of comedy of manners and etiquette that was produced in the texture of the lower socio-economic class of society and had an audience in the same class. Due to having characteristics such as criticizing the rulers, making people happy and entertaining, improvising, transferring literary heritage, playing music and singing, they are closer to Gosans than gypsies and tricksters. The Tura text is a fluid text, dependent on place and time, which has witnessed changes in all four areas over the years. Also, the results of the research in understanding the reasons for the decline of Tura, the luxury of the ceremony and diversity in the ways of holding ceremonies (litany level), changing the contexts of Tura performance and changing the habitual nature and the changing taste of leisure (level of systematic causes), the tendency to create a class distinction between the audience and the performers of Tura and the influence of popular culture (level of worldview), globalization emphasizing the decline of traditional metanarratives or everything that is modern is far from tradition (The level of metaphors and myths) remembers.

Notation in music has always been an evolving issue. In the last century, as music research and innovation continued, new notation systems increased and certain standards, however relative, were set. There were two very important questions in the conflict of these extensive developments in notation: Whether all these changes have been necessary? And in what areas has conventional classical notation failed to express the ideas of contemporary composers? In this study, as an example, six works were selected due to structural differences in notation. First, each of the works was examined separately from the perspective of notation and written symbols, and in the next stage, the similarities and differences in notation of these works were compared. At the end,  the reasons for choosing modern notation in each of the six studied works and the limitations of using conventional classical notation in the scores of these pieces were examined. In addition, the question was considered whether it is possible to rewrite each work with the conventional classical notation method or not. The method of this research is analytical. Gathering information is based on literature studies and using the works of composers, books and articles in the original language, interviews and internet sources. According to this study, it seems that notation in the conventional classical way has been applied and used in presenting the generalities of the studied parts, but it has some limitations in presenting the details that arise from the composer’s creativity. Cowell and Crumb use some extended techniques into the inside of the piano, Stockhausen tries to find a way to sketch electronic sounds in the score or uses an upside-down bango with a bunch of beans inside, Cage marks the bow position at the beginning and end of a martelato or the direction of a glissando on a certain pitch, Takemitsu takes cues to coordinate the musicians and Penderecki uses the sound behind the bridge on strings. Due to the limitations of classical notation, these works can not be written completely in the usual classical way and the composers have been forced to use innovative ideas in the writing of these pieces.

Musical works and music art during World War II have been described as an effective and motivational factor for the nations involved in the war. For these nations, the leading musical works appeared and were used to be in line with their strategic aim in the war, and it was a decisive factor for the forces involved in the battle. Since these works of music are directly related to the phenomenon of war, carrying particular implications at a specific time and geography, they can be analyzed alternatively as an influential factor in the war through the concept of the "Moral Factors" of the Clausewitz War Theory. The "Moral Factors" of the War relevant to Music works are a series of elements through which musical works, like a tool, draw a "commonplace" to reach the society for fighting in the scene of the war. This concept is used here to show the way that prominent musical works in a specific country at the time of World War II had appeared as an armed force with a determined common goal for accomplishing the strategic plan which, at this particular time, dominated the whole musical milieu that existed. The focus of this article has been limited to Germany during World War II, the situation where Wagner's operas became leading Musical Works by Hitler and the Nazi Party, which was by no means accidental.  From the moment they founded their party, they advanced “Nazification” in music, and from that point, the musical currents incompatible with their instructions were eliminated and dismissed as "worthless" or “Degenerated.” With the beginning of the Second World War, the supporters of the Nazi Party, along with the war that their commanders started with the aim of conquering the world so that the Aryan race would stand above other races, had to direct their own musical identity by creating common goals for their people and soldiers. And in the meantime, Wagner's operas were able to act as "Moral Factors" and found implications aligned with these dominant goals to announce the promise of Nazim's common ideals to the German people.

Framing and composition are topics that are very important in image aesthetics. Cinematic frame is very important because it practically defines the image for us. In cinema and visual arts, the image is one of the most fundamental factors in shaping the structural quality of an artwork, what is seen on the cinema screen is a set of images, so we must first look at the nature of the image and its dimensions. Visual elements such as line, shape, texture, etc., can affect the visual aesthetics and visual structure of the film. Aware of the visual features of these elements, which have an interconnected structure, filmmakers use them to create meaning, advance the story, and convey emotion. Cinema needs image elements to form an image, and the beauty of each image is directly dependent on the proper and conscious use of its constituent elements. On the other hand, for certain reasons, knowing how to frame the film has a greater impact on the audience and engages them in the film for a longer period of time, and through composition in the film, a deeper meaning can be conveyed to the audience without the need to tell them what is going on. On the other hand, the view of a film is like a painter's canvas in a sense: it must be filled and filled in such a way that it makes the viewer see certain things and (not see other things). Therefore, the images must be framed in such a way that they can be linked to the next image, and from this point of view, the director must not only obtain the proportion and balance in his combination of each shot, but must make this combination in such a way that he can create the appropriate sequence. Therefore, at the beginning of this research, we will first deal with the visual elements of the image, and then, based on a case study and with a descriptive-analytical approach, we will examine and analyze selected scenes and sequences of The Grand Budapest Hotel.

The goal of this research is to provide a model for theater audience consumption experience through a qualitative and practical approach with ethnographic methodology. The target community of this research includes all theater audiences in Tehran and sampling has been done with judgmental and snowball sampling methods. After carefully investigating literature and background of research 20 theater audiences were chosen who go to theater at least 5 times in a year. “The City Theater” and “Iranshahr Theater” complexes were selected as the research field because of their reputation and rich history. Participants watched nine performances during the time of research. Data has been gathered by Ethnographic data gathering methods including Narrative Inquiry, Participatory Observation and Deep Semi-structured Interviews. Consumption experience was analyzed in 3 stages: pre-consumption, core- consumption and post-consumption experiences and the whole experience as a conclusion. The analysis has been done with thematic analysis by NVivo.12 software. In coding phase, first 256 open codes were found. After code refinement 131 codes were left which were converted into three main abstract headings: affections, cognitions and behaviors. At a higher level of abstraction, these codes constituted the behavior of theater consumer regarding motivations for going to theater, factors affecting theater selection and pre, core and post experiences. The results show that “perceiving meaning” is the most influential motivation for going to theater, followed by theater’s closeness to daily life and a sense of belonging to theater audience’s community. The most important factor for selecting a performance is it’s the theater hall followed by friend’s recommendation. The model shows that going to theater is like a ritual which audiences respect in their theater consumotion journey. In each step, pre, core and post consumption experience, audience sees him/herself in a ceremonial event which has its own rules like wearing artistic clothes, selecting friends, going to café, etc. before the theater. At the core consumption stage, the ritual demands that audiances respect the performance by maintaining silence, interacting with other audiences and artists and in post-consumption stage the ritual continues by talking to others, and collecting brochures and photos to remember the event later on. Meantime, motivations and selection factors affect the theater consumption experience entirely. This model provides deep understanding of theater consumer behavior and helps theater organizations and marketing experts in optimizing theater consumption experiences.

Aristotle’s Poetics has valuable information in various sections which needs to be interpreted owing to its particular structure. One of these sections is Aristotle’s judgment on the tragedians’ innovations. Thus, the interpretation of Aeschylus’ plays is particularly significant because he is the earliest of the three great tragic poets. Aristotle has attributed four innovations to Aeschylus: increasing the number of actors, decreasing the importance of chorus, attention to dialogue, and best-selecting the mythos. Although except the latter, the other are approximately close to each other, Aristotle has separated them into sections based on different perspectives. The main purpose of this research is to analyze to what extent Aeschylus’ plays are in line with Aristotle’s Poetics and to identify the flaws of the Aristotelian model. The method which is used in this article consists of perusing all Aeschylus’ survived works and Aristotle’s Poetics for identifying Aristotle’s direct analyses of him and analyzing the elements which have been mentioned above and reviewing their development based on the date of their composition. The results of the research show that among all four mentioned elements, Aristotle`s judgment on the mythos applies to the plays; but as for the other two elements, namely increasing the number of actors and decreasing the importance of chorus, there are several instances that refute the Aristotle’s arguments in Poetics regarding these plays. It seems one of the most eminent reasons for this contradiction is that in compiling Poetics all Aeschylus’ plays have not been analyzed and other great Greek poets have been taken into consideration.