نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 38 (پاییز 1403)

Abbas Kiarostami and Gilles Deleuze were unconventional figures, Kiarostami with his films and Deleuze in Film Studies. But both of them have one thing in common, and that is to return to the question of the essence of cinema. Kiarostami, especially in his three works, Birth of Light, Five, and 24 Frames, with techniques such as de-dramatization of random encounters and completely accidental disturbances, questions the common realism and the perception of the immediate recording of reality by the camera, and on the other hand, Deleuze with his ideas follows establishing a new ontology of film trying to find a new answer to the question of what is cinema. By putting forward the concepts, the movement- image and the time-image in relation to other concepts such as perception, action, affect and crystal, Deleuze draws a theoretical structure to show how a film works. According to Deleuze, the work of film analysis and film-thinking is to develop concepts that are related to cinema. According to him, every film has goals, and cinematic techniques such as framing, plan, and montage make sense in relation to these goals, but these techniques assume those goals and do not explain them. It is the goals that make the specific concepts that Deleuze is talking about. In the present research, an attempt has been made to examine some of these concepts in the face of three works by Abbas Kiarostami. At first glance, it may seem that the three mentioned films do nothing but reproduce the visible world; It means reality, and here nature is captured in a de-dramatized and de-personalized state without the intervention of humans or subject. But in Deleuze's approach to these films, it is made clear that they are not only not representing the visible, but are in the process of making visible. Because of the three films, The Birth of the Light, Five and 24 Frames, have been pushed to the limits of the essence of cinema, they reveal a perception of life.

The theorizing process in the field of bodily exercise processes is significantly based on Merleau-Ponty's concept of corporeality and sensory perception of the rehearsal process as a bodily function. In order to reach the body's understanding of the rehearsal process, it is not only necessary to explain the body in terms of philosophical paradigms, but it is also necessary to explain the characteristics of  Embodied/ Space- making rehearsal processes based on Merleau-Ponty's ideas. In this article, the intertwining of philosophy and practice is emphasized in order to understand  how a common ground and a new potential for understanding the training processes in body-oriented performances can be achieved, and in this field, a new conceptual approach can be used to understand the concept of physicality in the rehearsal process based on the training method. The purpose of this article is to explain the elements and characteristics of an Embodied/Space- making rehearsal method based on the concepts of Merleau-Ponty's phenomenology. This article, with a descriptive-analytical method and using library and internet resources, tries to answer the question of how, based on Merleau-Ponty's concepts of phenomenology, a suitable context can be found for the study, explanation and phenomenological analysis of the practice of creating space. Based on the phenomenological approach and Merleau-Ponty's ideas, the obtained result shows that in the training method of an Embodied/ Space- making rehearsal, the body of the "actor-performers" plays an essential role as an element of the template and the main platform of the process of creating events in the training process. This method of training by emphasizing the concept of "actor-performer" and the concept of "embodied reflection" suggests a method for the process of embodied training based on indicators such as "the embodied experience of actors-performers in the process of training", "the interweaving of self-other with each other in the position of subject-object in the lived world of training" ,"the bodily perception of the participants with all the components and elements and objects in the space/ rehearsal environment" and "the bodily/ sensory perception of the performers in the face of the world with which they interact" and highlights the rediscovery of the space/ rehearsal environment. In this situation, the actors-performers enter a state of being/ doing at that moment and continuously adjust themselves to the changes in the space/ rehearsal environment. This method creates countless expansion and diversity in the process of creating events that can be examined and analyzed based on phenomenology and Merleau-Ponty's terms.

The present article analyzes the representation of surveillance in The Color Purple (2010) and Midday Adventures (2017) with an aesthetic approach. Regarding the idea of Panopticon surveillance, the selected movies for case study are two notable films in post-revolutionary Iranian cinema. Michel Foucault, the French thinker and historian of the 20th century, in his book, Discipline and Punish: the Birth of the Prison, based on the idea of ​​the Panopticon prison, analyzes the concept of Panopticon surveillance. The Panopticon, a fundamentally new type of prison, was designed in the 18th century by Jeremy Bentham, an English utilitarian philosopher. This modern prison exposes the cells of prisoners to a supervisor who is hidden in the darkness of central tower. Foucault describes the surveillance mechanisms in the Panopticon as the surveillance mechanisms of modern political powers in order to maintaing sociopolitical order in society. In recent years, the discourse of surveillance influenced by the thoughts of Michel Foucault has formed a discussion about surveillance cinema in film studies. By reviewing the works of early cinema, the theoreticians of this field have confirmed the inherent links and affinities between surveillance and medium of cinema and have paid attention to thematic and structural ways of using it in films. Also they have studied the ways of using this concept in movies by emphasizing the affinity between the surveillance and the cinematic form. In this approach, they have paid attention to the moving from a thematic concern to structural engagement of surveillance in the aesthetic foundation of films. In Iranian cinema, one can find significant examples that have used the idea of Panopticon surveillance in an considerable way. The present research first tries to examine the idea of Panopticon surveillance in Michel Foucault's thought and in the next step to study the analytical approaches of film scholars in explaining the concept of surveillance cinema. At the end, by focusing on the selected films, the structural application of surveillance in these two works is examined. The findings of this research reveal that these two works have used structural elements in different ways to reflect the idea of surveillance in their aesthetic forms.

Cinema as one of the most important artistic, media and cultural tools has been investigated and discussed from different angles, especially in the field of sociology and the mutual influence between cinema and society has always been emphasized. Sociology can be considered the systematic study of human societies, which pays special attention to modern industrial systems. The study of the sociology of art in its simplest definition examines the relationship between art and society. Cinema, as an art-industry favored by the masses, has always been one of the most significant platforms for representing issues in society. With the development of information and communication technology in recent years, as well as the increasing activity of artists in social and political issues in society, the issue of representing the image of artists in the media has become more considerable. Using the reflection approach in the sociology of art and the method of content analysis, the aim of this study was to investigate how cinema artists are represented in Iranian cinema. To reach a purposeful analysis, five central concepts, applicable to cinematic works, were selected and developed as the indicators of artists' representation which include gender, geographical location of artistic activity, economic class, artists' relation with other artists and artists' relation with the audience and people. “Pig” and “Red Carpet” were selected as two of the most recent works in the field of representation of cinema artists. The results show that "Red Carpet" satirically criticizes meritocracy in Iranian cinema, the presence of Iranian filmmakers in foreign festivals, and the relation between them and people. “Pig” criticizes the intellectual atmosphere between artists, the fake relation between them and the influence of cyberspace on the relation between middle class people and cinema artists with a postmodern look and satirical language, and also shakes the foundations of the ideal image of artists.

This research studies The Stormy Trek of Farman Son of Farman Through Darkness by Bahram Beyzaie, and Aramsayeshgah by Bahman Forsi to examine the undecidability between sanity and insanity in a mental asylum setting. The study reveals a lack of a precise border between the two, with the sane becoming insane and the insane becoming sane. The mental asylum setting acts as a threshold space, functioning as a border between sanity and insanity. The primary tool for mixing this binary opposition is the use of aporia as a rhetorical device which is related to the subjective views of the characters. Each character sees events from their own perspective, and there is no clear indicator to measure the truth of their statements. By challenging the traditional understanding of binary oppositions, specifically the sanity/insanity duality, this research suggests a new way of approaching these concepts. The aporia of sanity/insanity, utilizing space and subjective view, questions the perfect model of sanity and insanity, encouraging the audience to adopt an attitude without the need for definitive decisions. It is not about taking a stance between the two, but rather acknowledging that subjective views can influence truth, and the absence of a clear model creates meaning with a delay. Drawing on post-structuralist ideas, this research aligns with Jacques Derrida's challenge to binary oppositions in Deconstruction. It highlights the overlap and lack of complete conflict between the two sides of the opposition, as concepts can include their opposite points. This perspective in drama creates a new attitude towards concepts that traditionally have precise boundaries or are preferentially treated. In conclusion, the findings emphasize how the atmosphere of the mental asylum, coupled with the use of subjective view, contributes to the formation of the aporia of sanity and insanity in these plays. The lack of clarity in the border between reason and madness directs attention to the shared space between them, offering the audience an alternative way of perceiving the world. In general, the use of aporia in plays set in a mental asylum has a thematic significance which spreads the aporetic theme throughout the plays and makes them aporetic and self-deconstructive. Furthermore, the thematic use of aporia can be applied to drama using different binary oppositions. This means that the deconstruction of different aporias can act as the theme of drama and make it self-deconstructive.

Since the very beginning of the emergence of western-style theater in Iran in the 19th century, the existence of this new art has been tied to censorship. The first theatrical activities in Iran before the occurrence of the constitutional revolution in the years 1905–1911 were limited to the publication of Iranian plays and the translation of foreign plays. Mirza Jafar Gharachedaghi, when translating the collection of plays by Mirza Fatali Akhundov (Akhundzadeh), the first Iranian playwright who wrote his works in Tbilisi and in Azeri Turkic, changed the names mentioned in these plays so that the anger of famous people whom the author had criticized would not cause trouble for the translator. With this, we can see that with the publication of the first Iranian modern play, censorship and self-censorship were also born in Iran, or at least became official. Since that date, i.e., since 1873 AD, various types of censorship, self-censorship, and, of course, avoiding censorship have existed in Iran in different forms, both officially and unofficially, and they did not completely disappear in any periods. From the first amateur Iranian theater troupes in the pre-constitutional era (1911) such as Farhang Theater and National Theater to troupes with a regular repertoire in the post-constitutional era such as Iran Comedy, Nakissa Theater and Barbod Theater, to the professional theater troupes and companies in the Pahlavi era (1925 to 1979) such as the Ferdowsi Theater, the National Art Troupe and Theater Workshop and even the huge number of so-called registered troupes after the Islamic Revolution (1979), all have been struggling with the phenomenon of censorship and of course self-censorship and on the other hand escaping from censorship, and many forms of theater censorship in Iran continue to oppress artists to this day. Since the first theater production in Iran, religious censorship has been the main form of censorship in Iranian theater, along with government censorship and, of course, self-censorship. After the Islamic Revolution and with the rise of religious clerics, these forms of censorship became more intense. During World War II and the Anglo-Soviet invasion of Iran in 1941 and the establishment of the Communist Party of Iran (Tudeh), ideological censorship was added to other types of theater censorship in Iran, and official and unofficial parties still use different methods to censor competing ideologies. Numerous political and social events in Iran, including the constitutional revolution and the Islamic revolution, did not have a significant impact on increasing freedom of expression in Iran, and as a result, creative freedom and dealing with censorship became the main forms of artistic expression in Iran. Since the early years, theater troupes in Iran have used several strategies in their organizational and management structure to deal with and fight against censorship, such as performing theater secretly, recruiting members instead of selling tickets, or cyber performances in recent years. In this article, by examining the management of prominent theater troupes in Iran, we will recognize the strategies that these troupes used to counter censorship.

The transfer and transformation of folk music repertoire to classical music is always considered an important issue. One of these cases goes back to a part of Bushehr's folk music repertoire, known as Sharveh, which led to the formation of Avaz Dashti. Undoubtedly, other cultures have also influenced the structure of Dashti But the contribution of Bushehr's Sharveh_ha_i is particularly important here and historical developments show that the basis of the Avaz_ha_i Dashti is derived from Bushehr's songs. The most important questions of this research are the role of cultural and social contexts in the transfer of Sharveh songs to classical music, as well as the changes and metamorphoses created in the structure of these songs in order to adapt to the repertoire of Dastgah in the direction of the formation of Avaz Dashti. The research method in this article is descriptive-analytical and the method of collecting library resources and research in Bushehr region is used. The focus of the study in this article is on the repertoire of Mirza Abdallah's Avaz Dashti narrated by Nur Ali Broumand, one of the oldest narrations of Radifi. In treatises and other texts before the Safavid era, there is no mention of Dashti; however, it seems that the beginnings of this process go back to before the Qajar era. The importance of holding mourning religious rites related to Twelve Imam Shi'ism from the Safavid era onward attracted attention to “singing” in Ajam Iraq and highlighted the need for sad songs to hold these rituals. The transfer of the capital from Isfahan to Shiraz during the Zand period created a closer relationship with Bushehr. In this connection, Sharveh gradually received attention and was gradually considered as a part of Dastgah music repertoire. Their compatibility and similarity with the songs of Dastgah Shur gradually provided the basis for the creation of an independent Avaz. Sharveh_ ha after establishing their position in the internal structure of Dastgah Shur, when the Pentateuch Avaz-ha-i of the Dastgah Shur were formed, played a significant role in the formation of Avaz Dashti. The most important modal changes of Sharve_ ha in the process of transformation into a Avaz Dashti are the functionalization of the variable tone and the addition of the Owj/Oshagh mode to this song. Metrical changes and their use in Ghazal and Masnavi forms are also other changes.