نشریه رهپویه هنرهای نمایشی
پیاپی 6 (زمستان 1401)

In recent years, new Romanian films, which respond to the social reality, have emerged as a new cinematic movement and have attracted the attention of critics in film festivals. Long take is an aesthetic approach considered as one of the realistic factors in Romanian new-wave cinema. André Bazin, one of the most influential theorists in the history of cinema studies, delineated the aesthetic of realism and advocated filmmakers who are known as realists by privileging the long take and depth of field associated with it over montage, which distorts the representation of reality according to his belief. This article intends to use the combined approach (descriptive-analytical method) and analysis of reality representation based on the film theories of Bazin, to investigate the long take as the principal element of configuration cinematic realism in the Romanian new wave cinema. For this purpose, The Death of Mr. Lazarescu (directed by Cristi Puiu) has been studied in terms of stylistics and formal analysis as one of the most well-known cases and pioneers of the Romanian new wave cinema. In The Death of Mr. Lazarescu, the long take acts as the method of reality representation and presents “the real” ambiguity, which is the aesthetic essence of cinematic realism

Phenomenological research studies have been conducted to uncover the true origins of the performing arts. In a macro sense, the performing arts are recognized as a human phenomenon. Similarly, studying genealogy also involves analyzing different human-social contexts and, as a result, examining the historical-cultural themes connected to this phenomenon throughout its history. Every artistic phenomenon has a past without which it is impossible to reach its origin. On the other hand, Studies in art history show that no art has suddenly become the art of today, and To grasp the core of an artistic phenomenon, one must delve into its related past. Performing arts can be considered as one of the oldest and newest arts. The universal scope of the performing arts is undeniable. Every universal phenomenon entails a multiplicity of theories, and the theories of the origin of the performing arts are no exception to this rule. Various opinions and theories about this art and its origins have been recorded and preserved from centuries BC to the present day. According to the writings of the same documents, it has been concluded that the history of that art will go back to prehistoric and prehistoric phenomena. One of the most interesting topics in the history of art is theories about the emergence of a phenomenon until that phenomenon becomes definable and acceptable as a special—absolute - art. In this evolution of identification, origins, factors, and elements influencing the formation of that art are very important. The genealogy of the performing arts is in the same category. “Performance” as a universal art category and “representation” is a very ancient phenomenon in humans. Today, the play has a special place in the history of art as an artistic text made by humans. The present article tries with descriptive-analytical method and deductive analogy to Recognize the “play” as a historical-social and doctrinal-artistic phenomenon, it explores the neglected and missing parts of the history of the study of this art in its past. And to interpret their role in the creation and formation of ritual-theatrical movements and subsequent theatrical traditions. History gives a play that is constantly changing. This study aims to compare the origins of performance and dance with Samaacheh to identify Samaacheh dance as the root of performing arts, highlighting prehistoric performing arts phenomena. The research method is qualitative-interpretive, and documentary data with a historical, genealogical approach has been used for writing. The main query of this paper is what is the basic source of the performing arts? The result of the current theorist’s quest will be to reach an explicit theory of the origin of that art by a closer study of the previous theoretical foundations and theories of the origin of “representation”: “The Origin Theory of Performing Arts, from Dance with Samaacheh”.

This paper examines the characteristics of private theatre and its differences from non-private theatre, focusing on the formation and operation of theatre groups during the second Pahlavi period in Iran. The study reveals that during the first decade of Mohammad Reza Pahlavi's monarchy (before the 1953 coup), attempts were to privatize theatre, similar to efforts made during the Persian Constitutional Revolution. Independent political parties or groups formed and managed theatre groups to inform and educate the public. However, as soon as the government realized the impact of theatre on society, it began to use theatre as a tool for its purposes. Thus, this paper seeks to answer two main questions: 1) How did private theatre develop in Iran? 2) What were the reasons for restricting the privatization of theatre during the Second Pahlavi period? By analyzing the activities of theatre groups during four specific decades of the Second Pahlavi period, the paper concludes that governmental restrictions were not the sole reason for the failure of private theatre. Rather, the support of artists and theatre managers for these restrictions played a significant role in the failure of private theatre.

Since cinema is based on visuals, its roots can be traced back to ancient traditions of image representation, particularly in painting. In the meantime, among filmmakers, some consciously refer to artworks, Notably, paintings, aiming at creating their desired concepts and establishing a powerful intertextual relationship between movie and painting by doing so. Roy Andersson, a Swedish filmmaker, is one of these filmmakers. The main question of this article is how paintings inspired Roy Andersson in creating his film sequences. This question aims to learn more about the relationship between Cinema and Painting in his films. Therefore, the relationship between The History of painting art and his films is discussed with a descriptive approach and in the way of finding similarities. Given the special effects, scene composition, and character portrayal in his films, we can claim that Andersson refers to a wide spectrum of prominent artists throughout art history, besides drawing inspiration from them in various ways. His influences from the artists of the Renaissance era to the contemporary period include Francis Bacon and Hockney; however, he predominantly refers to modernist painters. Each painting influences him differently, from elaborate scene setups inspired by Bruegel the Elder to faithful reproductions of other artists’ works that can be interchangeably observed in his movies. The extensive references to painting history in Andersson’s works make the comprehension of the profound artistic language and quality of his movies, dependent on the knowledge of art history so as not to be misunderstood.

This article assumes that cultural theaters, seen as rituals, form the foundation of a cultural system despite having critical components. Therefore, regulating theaters is unnecessary. With three key characteristics, theaters possess a unique trait known as "permissible violation." Modern theaters serve as pseudo-rituals, allowing society to view, assess, and contemplate its moral, social, and political issues externally in a brief timeframe. For instance, Takht-Hawzis exemplifies severe criticism of hegemonic leaders, yet the cultural system remains stable. The misconception, influenced by Plato, that addressing critical matters in theaters harms Aristotle's perspective refutes society's cultural and political essence. Artistic expression in theaters, even if unintentional, unleashes hidden energies within people, fortifying the cultural foundation of society through catharsis and healing.

Since theorists began to study art as an independent subject, there have been many opinions about the relationship between art and real life, which includes a wide range of the autonomy of art and its subsumption. This relationship is the relationship between the sensible and the reasonable. According to Rancière's theories, it is not possible to access the realm of meaning and convey a message through the work of art. Meaning is constructed in the minds of individuals by interpreting sensory stimuli received through their senses. The function of this system is to assign identities, roles, and positions to people. The action of opposing this system leading to redistribution of the sensible, is called politics. The aesthetic regime is a specific way of thinking and formulation of art that considers artistic sensible as a means of thought. From Rancière's point of view, this regime is related to politics through the redistribution of the senses, and in this way, it leads to the emancipation of the audience.In the current research, the ethical, representational, and aesthetic regimes of art will be defined from Rancière's point of view. Then, the relationship between aesthetics and politics is explained specifically with theater. Finally, a descriptive-analytical approach is utilized to ascertain, based on library data, the artistic regime within which "The Blacks" by Jean Genet can be categorized. As the results of the research show, in this play, Genet deals with politics and redistribution of roles and identities by creating a gap in consensus, breaking conventional dichotomies, breaking the principles of representation, and presenting unusual objects, and in this way, this play can be considered as belonging to the aesthetic regime.The current research is a descriptive-analytical study of the play "The Blacks" by Jean Genet and by referring to library data, examines which of Rancière's artistic regimes this play can be placed in. As the results of the research show, in this play, by breaking the principles of drama, presenting unusual objects, going beyond the framework of representational logic, and breaking conventional dichotomies, Genet deals with politics and redistribution of roles and identities, and in this way, this play can be considered as belonging to the aesthetic regime of art.