نشریه تئاتر
سال دهم شماره 95 (زمستان 1402)

What makes a new ontology essential for today's theatre is the need for fundamental change in all aspects of this phenomenon. To respond to this need, side reforms do not help preserve theatre's status as a liberating art. This new ontology, addressed here as divergent theatre ontology, attempts to provide a new abstract intellectual framework for this issue before making any differences. To form such an ontology, mathematics can be used. In this method, mathematics can be used as an ideology framework. Considering that mathematical variables can be transferred from the field of symbology to the field of semantics, by turning into macro-theatre situations, each of the mathematical situations, allows the possibility to propose new hypotheses for theater by using mathematical theories.  This research aims to primarily present a specific form of an ontology of today's theatre as convergent theatre and to additionally express the new form using the mathematics of divergent theatre ontology and ultimately showing that any liberating aspect in theatre requires an infraction of the rules of convergent theatre and achieving some kind of divergence in theatre.

The current research was conducted to analyze the effect of pedagogical theater on the growth of students' creativity in primary and primary secondary schools. The statistical population of the research includes Primary and Middle school students (7-14 years old) from 6 regions of Tehran. These students were selected and randomly replaced in two experimental groups (10 people) and a control group (10 people). In both groups, a pre-test was performed and the experimental group performed pedagogic theater based on aesthetic training for 10 sessions of 90 minutes. After that, the test was performed again for both groups. Data collection was done through Abedi's creativity questionnaire based on Torrance's creativity questionnaire. The results of the research showed that pedagogical theater has led to the improvement of problem-solving ability and creativity of primary and middle school students in the experimental group. The statistical methods used in this research include analysis of covariance, T-test, and the use of SPSS software. The results of the statistical analysis show the positive and significant effect of pedagogical theater on the creativity of the experimental group(P05/0> ).

Ta’zieh is one of the prominent manifestations of mourning music (Sog) in religious communities of Iran, which, in connection with tradition, has achieved an important, comprehensive and influential position in the ritual art of Iran. Music is systematizing and an integral part of the art of Ta’zieh, and it appears and emerges in two ways: through instruments and through singing. The present research is descriptive-analytical through library and field study using existing documents and experts' opinions, while identifying and introducing the reciprocal effects of Ta’zieh and Iranian music on each other, from the two viewpoint of composition and instrumentation of the musical aspects of this ritual performance to analyze and introduce it. From the findings of the research, it was concluded that Ta'ziyeh music, which originates from the regional and instrumental music of Iran, in addition to helping to preserve, spread, promote and slowly transform the sanctities of music into rituals, has led to the formation of important things such as: creating a need in religious people to learn singing, using the voice of immature boys instead of the voice of women, exchanging content with different types of music and finally providing a platform for the creation of composite reading. On the other hand, many instruments due to their distinctive charactetistics, are not used in the composition of Ta'ziyeh, these chatacteristics include: the need to have high volume and sound intensity, no need to apply tuning, historical-mechanistic matching, the ability to perform while playing, lack of sanctity in terms of Jurisprudence is capable of making historical comparisons and having a sad or frightening sound. In this article, two groups of wind and percussion instruments used in the traditional composition of Ta'zieh have been introduced and explained from the perspective of instrumentation. There are some titles among other results of music making functions in Ta'ziyeh, such as: rituals, strengthening the sense of epic, singing accompaniment, dramatic intensification or alleviation, connecting and creating atmosphere, setting the stage for future events, breathing in imitation singers, increasing the attractiveness of the stage, inducing temporal order, creating variety. Sound and the creation of the dominant ambience have been presented and explained.

The aim this article is to investigate the symbolic and symbolic aspects in the play "Window Window" written by Farhad Nazerzadeh Kermani with an interpretive anthropological approach. In the statement of interpretive anthropology, Clifford Geerts considers two important processes of emic-etic researches as the fundamental elements of the interpretation of works of art. A window on the winds has been able to put the anthropological texture of the drama in a connection between culture, man and nature, and by creating tribal music, it has mixed the archetypes of the people of Kerman. The findings show that the play "Window on the Winds", from the title to the end, with the mixing of the culture of the two characters of Sobar and Mozaffar in the self-made imaginary nature of Badabad, forms an anthropological triangle of interpretation based on the theory of Clifford Geertz to the interrelationships of "man", "culture". and "nature" and place it in the category of ecological semantic dramas. After eight months of being away, Muzafar returned to his hometown of Badabad, Kerman, and under the influence of Loti's reports, he became pessimistic towards his pregnant wife Sanobar. Therefore, in order to protect his reputation, he decides to punish the spruce and takes him to the top of a hill in the desert at night with a rope in one hand and a lantern in the other hand, and ties him to a stone shaped like a donkey's head (Khorsang) to punish him. And he walks away from there with the hyena-like voice of Hamodan, with the assumption that if the fir tree is innocent, it will be saved by the nocturnal singers, and if it is guilty, it will become the prey of wild animals. Signs and meanings in this play express two important aspects of interpretive and visual anthropology. The findings show that the author was able to create new and suitable symbols for the region. In this play, there are about twenty-seven indigenous, tribal, mental, religious and imaginary symbols, which places it in the ranks of anthropological symbolist plays. Both characters in this play speak the same language, but the language of their minds is different. This research was prepared based on the method of descriptive analytical and library-documentary studies and it was also analyzed using the qualitative content analysis method.

This article delves into the distinguishing features and textual structure of documentary drama by reviewing and comparing the theories of Derek Paget and Carol Martin. The docudrama is a genre that utilizes real and historical events like interviews, documents, and newspaper informations to explore the real life events and people. It usually revolves around the political and social themes and issues and claims to revolve around truth and authenticity. The article explicates that documentary drama relies on three types of discourse: the discourse of factuality, the discourse of fictional drama, and aesthetic and analytical discourse. In the twenty-first century, with the proliferation of technological tools, documentary drama has been increasingly employed and recognized as a theatrical genre that can impart historical knowledge. This article provides a comprehensive analysis of the multifaceted dimensions of documentary drama, including the significance of collectivism and the preference for reporting over recording. It argues that documentary drama has the potential to establish intimate connections among the audience, artist, and documentary subject, and its scope extends beyond mere education. Finally, this article underscores the importance and value of documentary drama in contemporary society and advocates for further research to explore its potential to engage audiences, stimulate critical thinking, and inspire social change.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Michel Foucault, one of the most prominent thinkers of the 20th century, presented a new concept of power differing from its common definitions. In his view, power does not belong to a specific class and is a two-way action that takes place at all levels of society, communication, and relationships, and all people are present in this wide network. Puppet art which is considered to be one of the important types of theater art, to understand and create a relationship with the audience, builds all its efforts on the believability of its inanimate element, the puppet object, and the puppet show is used to show that the puppet is alive, and the puppeteer is defined in a relationship beyond the common definitions of an object and in two-way communication with his tools, using his mental and physical powers gives life to it.In this research, it is intended to investigate the concept of power from Foucault's point of view. This is to establish the relationship between the puppeteer and the puppet object. Also, the main question of this research, based on Foucault's theory of power is “how is the relationship between the puppet-object and its player, and what effect does this concept have on this relationship? The author first examines the category of power based on Foucault's theory, then examines the relationship between the puppeteer and the puppet-object, and finally she adapts the theory to the relationship between the puppeteer and the puppet-object. Based on the results of this research, it is showed that the fluid power existing in different social classes exists between the puppeteer and the puppet-object since it is animated and pretended to be alive on the stage. Failure to create a two-way power interaction in this relationship, as well as disrupting its balance, can take the doll-object away from its main purpose and break the agreement that the puppet is alive in the eyes of the audience and turn the puppet-object into everyday objects. This article is descriptive-analytical and has been done in library form and based on the research done by researchers in the field of sociology and puppetry.In this research, it is intended to investigate the concept of power from Foucault's point of view. This is to establish the relationship between the puppeteer and the puppet-object. Also, the main question of this research, based on Foucault's theory of power, how is the relationship between the puppet-object and its player, and what effect does this concept have on this relationship?The author first examines the category of power based on Foucault's theory, then examines the relationship between the puppeteer and the puppet-object, and finally she adapts the theory to the relationship between the puppeteer and the puppet-object.Based on the results of this research, it is showed that the fluid power existing in different social classes is existed between the puppeteer and the puppet-object due to its animating and pretending to be alive on the stage, and both obeyed it. Failure to create a two-way power interaction in this relationship, as well as disrupting its balance, can take the doll-object away from its main purpose and break the agreement that the puppet is alive in the eyes of the audience and turn the puppet-object into everyday objects. This article is descriptive-analytical and has been done in library form and based on the researches done by researchers in the field of sociology and puppetry.