نشریه تئاتر
سال دهم شماره 94 (پاییز 1402)

In the book Hegel, Literature and the Problem of Agency, Allen Speight tries to link three levels of agency to three genres in literature by examining the Phenomenology of the Spirit: Tragedy, comedy and romantic novel. Examining the agency of the characters in different works is somehow examination of the extent to which their actions belong to them; to what extent they find themselves in their actions. Hegel, at the first place, implicitly considers the highest limit of agency to be social, and secondly, with the concept of forgiveness, he outlines the type of agency suitable for modern moral life, which after Kant’s revolution, autonomy has become one of its important components. The reason why Hegel refers to narrative works to describe this process, sometimes explicitly and sometimes implicitly, is because action has fundamental importance in both agency and narration. In this article, while raising Speight’s reading of the Phenomenology of the Spirit, agency in Ibsen’s Doll’s House and Mehrjoui’s film adaptation of it (Sara) are examined. In both of these works, the main character, after experiencing retrospective and dramatic Moments, must prepare for an important Moment, that is, forgiveness, but her counterpart cannot reach this level of agency. Of course, in Mehrjooi’s version, more emphasis is placed on the conciliatory and balanced aspect of forgiveness than in the original version, and it makes its image more specific and pleasing.

History of the concept is a field that explores the changes and metamorphoses that fundamental concepts and semantics undergo through time, and then recounts the history using the lens of said concepts. Fundamental concepts are widespread ideas that create change in a society, and also depict the historical chronicles of a society. According to Reinhart Koselleck, history of the concept is a hybrid subject, utilizing social history, historical linguistics, and historical semantics and bases its theoretical framework and methodology on critical history, principle of time and simultaneity, semantics, and convergence of concept and history. Accordingly, these concepts act as revealing forces of ideas, social and ideological structures; and since they have a historical essence and occur in history, they can have different meanings and functions in relation to the history of each country and nation.Using the history of meaning theorem, the concept of modernity, which has a foundational essence, is hereby studied in the context of dramatic literature; this concept has a foundational essence since upon entering Iran during the reign of Fath-ali Shah of the Qajar dynasty, it caused serious changes in the country’s political and social structures and brought forth new events which indicated the manner of occurrence and the meaning of modernity in Iran. To explain the meaning of this foundational concept at the beginning of the history of dramatic literature in Iran, the plays and works of Mirza Fathali Akhundzadeh will be analyzed and studied; First, the meaning and examples of modernity in his dramatic works are interpreted and defined according to the principle of diachronic, and then, according to the requirements of the history of the concept and the existence of different and similar definitions of modernity in the social field of Akhundzadeh’s time, modernity in Akhundzadeh’s dramatic literature will be studied using also the perspectives of Amir Kabir, Naser al-Din Shah, Malkam Khan and Haj Sayah based on the principle of simultaneity and ultimately, the semantics of the concept of modernity will be formulated based on the history of the concept theorem. The necessity of such research is that modernity as the existence of dramatic literature, was the main subject of Akhundzadeh’s plays, and therefore such a foundational concept should be known and studied for its meaning at the beginning of Iran’s dramatic literature history and for how it was represented in a part of Iran’s history, not following pre-determined dictionary definitions, but by integrating it into its proper context.

Professional Socialization is one of the types of socialization that refers to the process of learning roles, values, norms and skills related to profession or social groups. The purpose of this study is to explore the process of professional socialization among theater actors/actresses of Tehran as a professional group and exploration of processes, through which the beginner can be changed into a professional member of theater actors’ group.Achieving this goal is followed through understanding “The story of becoming an actor” of interviewees under conducting Grounded Theory. From context/conditions categories, “context of stimulus” was selected as abstraction core category and from process/ interaction categories, “maximum self-education” was selected as core category. Through combining the two categories, final central category was obtained: “maximum self-education in the context of stimulus”. The context of stimulus is sometimes agreed family background, sometimes disappointing environment of the university that acts as a motivating factor to develop action and sometimes morphological context provided by the university. Continuous and maximized self-education is also the main point in data, which has had the highest significance and impact in this process in view of respondents. This is an internal active motor that constantly seeks learning and gaining acting skills through different pedagogical sources.

The treasure of Persian literature is considered a huge source for adapting and creating dramatic works, and Khamsa Nizami is one of the most important and appropriate works in this treasure. In the Tuesday Night episode of the Nizami’s Haft Paykar in the red dome, the story of Banu-ye Hesar is told. This story, which was called Turandekht after its adaptation, has been dramatically adapted many times because of its charm and elements of the story. For the first time, the Italian writer Carlo Gozzi made a Commedia dell’arte adaptation of Turandekht in the 18th century. Then, the German Schiller welcomed Gozzi’s play and wrote his Turandecht, and Berthold Brecht made a theatrical adaptation of this work after years of studying Chinese philosophy. In Iran, Reza Karam Rezaei has used the story of Turandecht as a basis for adaptation in the style of Takht Hozei. In this article, to determine the dramatic aspects of the story of Banu-ye Hesar and investigate the role of cultural and time factors in the adaptation of the ancient works, the story of Banu-ye Hesar and four theatrical adaptations were studied according to the theories of Hutcheon and Cartmell. The formalistic analysis of the story of Banu-ye Hesar shows that this system has many dimensions of theatrical features. Also, according to Hutcheon’s theory, there has been a change within the media in all the adaptation works mentioned. In the works of Gozzi, Schiller, and Karam Rezaei, the desired military theme is repeated and honored, while in Brecht’s work, the main theme has been turned upside down, and he has risen against it. In addition, based on Cartmell’s classification, it can be said that Gozzi, Schiller, and Karam Rezaei have used the transmission method and Brecht the method of interpretation in adapting the original work.

Impressionism, the first modern artistic movement in the 19th century, refers to immediate sensory perception. This movement transformed painting and made its way into literature, offering a brilliant and fragmented representation. Impressionist painters aimed to capture the real world in a specific moment, emphasizing the role of perception in shaping reality. In literature, writers adopted the impressionist approach by expressing their momentary interpretations, presenting realistic mental images, and often eliminating the use of an omniscient narrator. Anton Chekhov is one of the few writers who skillfully incorporated the impressionist style into his works, particularly his plays.This research examines Chekhov’s plays and ascertains how he drew upon impressionist elements to present a comprehensive overview of society and reflect its contemporary cultural and social conditions. The study focuses on Chekhov’s play “Three Sisters” and employs a descriptive-qualitative approach and content analysis. Through theoretical research and extensive examination of literary sources, the impressionistic elements in Chekhov’s works are thoroughly investigated.By presenting a collection of features and characteristics associated with impressionism, the study demonstrates that Chekhov adeptly juxtaposed fragments of the mundane world inhabited by various characters. These fragments include their close relationships, missed opportunities, and the misguided values prevalent in Russian society. Chekhov’s plays present simple yet profound images of people’s lives, which serve as manifestations of impressionistic representations. Consequently, the findings of this research indicate that Chekhov’s prose, particularly his plays, exhibits a discernible influence of impressionism.In conclusion, Chekhov’s plays beautifully embody impressionistic characteristics, providing a nuanced and comprehensive depiction of society while reflecting his time’s cultural and social conditions. Chekhov successfully captures the essence of impressionism through the fragmentation of narrative events and the portrayal of characters’ interconnected lives. His works stand as a testament to his prowess as a writer in the impressionist style, solidifying his position as a prominent figure in literature.This research examines Chekhov's plays and ascertains how he drew upon impressionist elements to present a comprehensive overview of society and reflect its contemporary cultural and social conditions. The study focuses on Chekhov's play "Three Sisters" and employs a descriptive-qualitative approach and content analysis. Through theoretical research and extensive examination of literary sources, the impressionistic elements in Chekhov's works are thoroughly investigated.By presenting a collection of features and characteristics associated with impressionism, the study demonstrates that Chekhov adeptly juxtaposed fragments of the mundane world inhabited by various characters. These fragments include their close relationships, missed opportunities, and the misguided values prevalent in Russian society. Chekhov's plays present simple yet profound images of people's lives, which serve as manifestations of impressionistic representations. Consequently, the findings of this research indicate that Chekhov's prose, particularly his plays, exhibits a discernible influence of impressionism.In conclusion, Chekhov's plays beautifully embody impressionistic characteristics, providing a nuanced and comprehensive depiction of society while reflecting his time's cultural and social conditions. Chekhov successfully captures the essence of impressionism through the fragmentation of narrative events and the portrayal of characters' interconnected lives. His works stand as a testament to his prowess as a writer in the impressionist style, solidifying his position as a prominent figure in literature.

In examining and studying the history of drama in Persian literature (since the time of Akhundzadeh), we are always faced with periods of time in which, due to various political, social, historical, cultural reasons, writers, often by adapting previous literary works, reflect the past and history in their works. Their relation to the literary past is problematic, like their relation to the political past and notions belonging to history. This perspective, in contemporary history of Iran has been the basis of the works of writers such as Naghmeh Samini, Ali Rafiei, Hossein Kiyani, Ali Nasirian and Mohammad Charamshir. In this research, a case study of the Akharin Par-e Simorgh (The Last Feather of Simorgh), written by Mohammad Charmshir, (as an adaptation of Shahnameh) has been chosen, based on the descriptive-analytical research method, using documentary-library tools. Anxiety of Influence literary criticism, established by Harold Bloom, has been used in this research. After explaining the theory and the six levels of it, described by Bloom, we apply the theory in Akharin Par-e Simorgh to consider the relationship between the “original text” and the play adapted from it. The relationship between Charmshir and his literary father, Ferdowsi, has been examined, applying the foundations of this theory, so that the late text can be read in relation to the original text. The results of this case study show the Oedipal relationship between Charmshir and Ferdowsi as a complicated relationship. In order to achieve his unique voice, Charmshir has gone through Bloom’s revisionist ratios and created a new narrative of his own by adopting a new direction and approach in the narration of the mythology of Shahnameh. In the end, we try to answer the question that how the past figures, the literary fathers, affect the late generation of writers who try to continue the tradition and at the same time, defy it.