نشریه تئاتر
سال دهم شماره 93 (تابستان 1402)

Contemporary documentary theater can be considered a kind of social struggle to reproduce, shape and remember history. Documentary theater is a branch of modern theater that acts as a catalyst for social and political change, addressing issues such as government, power, behavior, customs, and public opinion Documentary theater relies on documents such as reports, records, statistical tables, and interviews to develop the form of performance and tries to engage the audience, which is one of the most important elements in theater, objectively and concretely. This article aims to identify new methods in the development of documentary theater and examines the mise-en-scène and directing in the theater based on verbatim.Verbatim seeks to raise and challenge the social and political issues and problems of the present age with a new form and method and in accordance with modern technology. This article raises the main question whether the structure of the mise-en-scène and the direction of the actor in the documentary theater based on verbatim essentially follow a certain definition or not while describing documentary theater and analyzing the different forms of verbatim.Considering the fact that verbatim is a form of theater based on recording and interviewing, directing the actor in this method happens in such a way that the characters on the stage represent real characters, and therefore the actors are obliged to observe the tone and manner of expression of the person.This research is descriptive-analytical and the result shows that the structure of verbatim consists of a triangle of technology, text and body. In the relationship between these three, we can understand the importance of the position of mise-en-scène in the process of creating a verbatim play and especially in directing the actor. Also, the actor’s play in the form of this structure is believable.

For a long time, Broadway Theatre in the US by adapting successful animations to musicals has opened a new path for theatre producers – especially in the field of commercial theatre. The vast eagerness of audiences for remarkable musicals such as The Lion King, Beauty and the Beast, Frozen, Madagascar, Shrek  throughout the world has encouraged important theatres to do the same as Broadway. This trend has been followed in some Asian countries – particularly Japan – as well, reviving interest in theatre, which after the emergence of television and cinema had lost part of its audience. This paper aims to offer an accurate picture of the process of adapting animation to stage theatre and attract the attention of theatre managers, producers, directors, and others in Iran to this significant process. The Lion King as the most successful animation and musical ever has been chosen as the case study to be analyzed in the present research. The director and artists of the Lion king musical performed all the elements on stage in an avant-garde fashion with full fidelity to the animation text and excited the audience to transform fantasy elements into reality. The result indicates that this kind of adaptation is now commonly used by famous theatres and has been able to bring a new generation of audience to theatres. This process of adaptation is not limited to the works for children and it is possible to objectify the fantasy atmosphere in the country’s successful animations with theatrical elements and produce successful artistic-industrial performances in the country like Lion king and attract all kinds of audiences to this new type of theater.

The concept of liveness is of great significance in performance studies. Traditionally, liveness had been defined in contrast to expressions such as “recorded” or “mediated”, in other words, the live was supposed to materialize in the absence of any sort of mediatization or it was associated with the bodily copresence of performer and audience in the same space and time. In line with such traditional definitions, live performance had been associated with realness and authenticity, while recorded or mediatized forms had been regarded as non-real or inauthentic. However, over the recent years, numerous scholars have theorized about this concept among whom Peggy Phelan and Philip Auslander can be mentioned as the most prominent. Auslander in his book “Liveness: Performance in a Mediatized Culture” raises the significant issue of the status of live performance in a culture dominated by mass media. He questions the traditional definitions of liveness and in particular challenges Phelan’s ontological view. The Present study aims to explore the concept pf liveness in digital performances and uses Auslander’s observations in “Digital Liveness” as its starting point. Since his ideas can be applied to several categories of digital performance particularly the categories involving human- machine interaction, robots and the internet, this research focuses on analyzing two works of Blast Theory, one of the pioneering artistic groups that create creative, inventive and interactive work, namely Kidnap and Karen which demonstrate different characteristics. The question this article aims to answer is: in what sense can these works be regarded as live in light of new findings in this field. The results demonstrate that although these two works cannot be regarded as live in the traditional sense of the word, they demonstrate liveness in different levels considering new spaces created by the utilization of new media and mobile communication networks. Furthermore, issues are raised regarding the authenticity of considering the real and the virtual world as two separate entities.

This article, which is a descriptive-analytical survey conducted by the Delphi method, based on Francis Klein’s model, focuses on identifying the harms and obstacles in acting education at the Master’s level and the solutions to improve the status and quantitative and qualitative level of acting education. The statistical population of this research is the students who graduated from Tarbiat Modares University and Tehran University of Art between 2016 and 2019. The total number of these students is 110 and 50 faculty members and lecturers in these two universities were also selected. In the research method, using random sampling, 60 students and 12 professors were determined based on Morgan’s table. The researcher’s questionnaire was used to collect information and data. To determine validity, the questionnaire was given to professors and students, and after checking and removing duplicate questions, the final questionnaire was prepared with 65 questions for students and 63 questions for professors using a five-choice test on a Likert scale. Cronbach’s alpha method was used to determine the reliability of the test. For the statistical method in this research, descriptive statistics and inferential t-statistics for two independent groups, and Friedman’s test were used to compare the average rank, and spss software was used to accurately calculate the statistical data. The main hypothesis in this article is that there is a difference in the views of professors and students regarding the internal quality of the curriculum according to the mentioned elements. The results show that the quality level of education in this field can be improved according to the detailed revisions of the curricula and training programs and by improving the content of the curricula and realizing the goals and using qualified professors.

Preparing children for entering social relations and educating active and flexible people are the initial requirements to live in the modern world.Creative Drama is a group activity that promotes children’s interaction with each other through free actions and encouraging teamwork in a game-based process. The gradual process of creative display, by eliminating violent competition, increases the child’s desire for different experiences and provides a friendly understanding of others, meanwhile strengthening the child’s individuality leads to the development of the child’s social relationships.The purpose of this paper is to pay attention to the capacities of the show by forming a creative state of mind in the children and also to investigate how the creative show is effective in making children interested in participating in group activities.The question is “what effect does creative drama have on children’s interest in participating in group activities?”Research method For this purpose, 25 children aged 5 to 7 years (girls and boys) were trained in creative drama. The research sample was selected by a non-random and accessible (targeted) method. By holding creative performance courses, the behaviors of the tested children in the field of participation in group activities were studied and investigated. The researcher-made questionnaire was made with 26 questions based on Likert scale and its reliability was calculated based on Cronbach’s alpha using spss statistical software. In this process, a reliability of 0.93 has been obtained, which is estimated at an acceptable level. This questionnaire was given to the parents and teachers of these children before and after training and was answered by them both times. The results have confirmed the increase in children’s willingness and motivation to participate and communicate actively and effectively with the group.

The present research aims to analyze the common traits and differences of knowledge system in these two works by comparative study of Euripides’ play Alceste and Froud’s story in Ferdowsi’s Shahnameh. Also, it seems that the findings of this research can be generalized to the analysis (induction) of the dominant discourse of power in the semantic structure governing the flourishing era of classical Greece as well as Iranian-Islamic culture of the 4th century Hijri. The theoretical framework of the topics presented will be taken from the thoughts of Michel Foucault, the late French philosopher, and his concepts such as episteme and discourse of power. The evaluation method of this research is also descriptive-analytical, and on this basis, the necessary data to measure the samples will be obtained in a library manner and with discourse analysis tools. The evidence obtained from this comparative study is indicative of the fact that despite the presence of similar components in the knowledge system of both works, in both the divine and human realms, the concepts of “destiny”, “death”, “love” and “wisdom” are fundamental points of difference. In explaining the discourse of power, they return to the type of their approach in accepting or rejecting the supreme power of God or Gods. In other words, despite the emphasis on the place of “destiny” and “death” in the heart of Forud’s story, the essence of Alceste’s play is the rejection of all that traditional discourse of power before it. In this work, a person will gain power who will be approved by the human discourse of power.

Children with attention-deficit/hyperactivity disorder (ADHD) have problems, and the purpose of this study is to investigate the effect of the creative drama method on the problem-solving strategies of children with ADHD. The present research was applied research in terms of purpose, nature, and method; it was quasi-experimental with a pre-test-post-test design and a control group. The statistical population included preschool children with ADHD from Baharestan City in Region 1 in the academic year of 2019. With the sampling method, 30 children with ADHD were selected and randomly divided into two control and experimental groups. The control group (lecture method) and the experimental group (creative drama method based on Janasen’s constructivism model) were taught the concept of saving and optimal consumption. The data collection tool was Cassidy’s standard problem-solving strategies questionnaire, Connors’ ADHD questionnaire, and the educational program in the creative drama environment based on Janasen’s constructivism model in the classroom. The validity of the questionnaires and educational program was confirmed by educational psychology experts using the content validity method, and the reliability of the questionnaires was calculated using Cronbach’s alpha method as 0.75 and 0.79, respectively. The results showed that the use of creative drama based on Janasen’s constructivism model increases problem-solving strategies, constructive ways (creativity, trust, and tendency), and non-constructive ways (helplessness, control, and avoidance) of hyperactive children (attention deficit) of preschool students. The dynamic creative drama environment based on Janasen’s constructivism model has a positive effect on the problem-solving strategies of ADHD children, and this effective learning environment can be used to improve problem-solving skills in hyperactive children.