نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 2 (بهار و تابستان 1390)

Classic texts in philosophy are very important to shape the peoples thinking but this affection is commonly indirect. Philosophers explain aspects of our life by their special terminology, and therefore applying these explanations in specific subject is not possible. One of the most important philosophers is Kant, and his “Critic of Judgment” is among the most important texts in this case. Applying the subjective theory of Immanuel Kant in aesthetic, in propose of surveying an artistic item as the objective acclaim of Beauty, is facing many obstacles such as no clearance regarding subjectivity and identity in definition of Beau and the Art. Kant starts his analysis from human cognition and attempts to clear the concept of Beau and the Art in this way. But this article attempts to remove some of these hinders. Kant’s theory is very important in philosophy but it has problems for explanation of – for example – a play. So, first of all, reviewing Kant’s definitions on Beau based on Quad Moments will be done. Then the reputation of Kant regarding his system of aesthetic among the outstanding theories in history of his aesthetic and philosophy of art will be presented. And after that, simulation the mechanism of the human cognition for offering the judgment of taste in a metaphorical pattern, as well as the concept of dialectic of taste-cognition will be introduced. The obtained system, using viewpoints of “Hans-George Gadamer” about the similarity between the structure of art and play, will present three objective aptitudes for beau based on subjective principles of Kant’s aesthetic which two aptitudes of them are in negative way and the other one is in Exigency way. With default of Beauty as the inherent property of art and by using this inductive system, the article tries to eliminate the basic bugs which theory of contemporary Art extracts from the philosophic aesthetic. Using this method, and as a sample, features of ‘The Birthday Party’ play by Harold Pinter which makes it meritorious as the Beautiful to get judgment of taste, will be surveyed. Harold Pinter is a very important playwright in the history of modern theatrical art, and “the Birthday Party” is a special case in his plays. Surveying this play can clear several aesthetical aspects of modern plays. On the other hand Harold Pinter is a contemporary artist and Kant is a philosopher in the Enlightenment. Finding a relation between the thoughts of these two humanity stars in Philosophy and Art can help us to reconnoiter and exploration of more relations between the worlds of philosophy and art.

Different performance arts like theatre, music and dance can use improvisation in various ways. In theatre, improvisation can be used for training students, staging text plays and especially in recent years as an element to provoke creativity and spontaneity of actors and audience simultaneously. A theatre group can reach to performance thorough improvisation. Having just an idea and rehearsal place, the group can achieve a structured performance. So, each of the performers should reinforce his/her personal and collaborative capabilities. There are six skills that every improviser should acquire them: 1. Trust: Trust is the foundation for all of the creative and collaborative endeavors. Improvisers demand that they colleagues that they can trust and they have developed exercises (and tests) to build it. 2. Spontaneity: Although spontaneity is risky but it may act as the heart of creativity. Improvisers practice getting out of their own way so that they can recognize and utilize their innovative ideas. Socialization kills spontaneity. 3. Accepting the offers: Everyone offers and accepts. An ‘offer’ can be anything. Say ‘yes’ and accept offers. Each member of a team is responsible for both contributing to and supporting the group’s activity. 4. Listening and awareness: Before accepting an offer it must be recognized. Listening is more complex than it seems. By enhancing the listening and observation skills, teams and individuals can harvest significantly more ideas, increase their understanding of each other, and communicate more effectively. 5. Storytelling: Storytelling is a historic as well as current and profound learning too. Stories are the heart of theatre and the heart of communication too. Audiences are constantly looking for stories to help them understand the information being presented to them, and to keep them interested. 6. Non-verbal communication: non-verbal behavior often carries more weight than theverbal communication. Our subconscious is evident in our dreams; it reveals itself in our bodies. Applying these skills has a vital role in all kinds of theatres which are using improvisation. These skills can lead to creative and attractive performance. Especially for modernist artists, improvisation can be a qualified technique. In this article, the authors have studied the improvisation in general, as well as the theatrical form of it, and mentioned that it needs to 6 main skills. This study is completely practical and theoretical debates are relinquished. This article is useful for theatre groups, theatre students and even theatre teachers.

The relationship between representation and reality has been the matter of concern to the philosophers all the passage of time. In general, with the rise of metaphysical thought and Idea theory in Greece, the absence of reality of the world in the human sight has been accepted; moreover, gradually Epistemology got the priority to Ontology and so, representation was considered as a necessity to face the reality. At the same time, the meaning of Art was also changed from the concept of Poesis, accompanied with Aletheia to the concept of Mimesis and separation of Aletheia. In this article, the cinematic representation, as an artistic media is studied from the perspectives of Ontology and Epistemology on the one hand and in the face of two historical-intellectual paradigms on the other hand, including: Presence or phenomenological knowledge, and metaphysical paradigms. As a matter of importance, in this article, only that part of representation has been taken into consideration that is related to reality. Theorizing about the cinematic representation is dependent to the ontological and epistemological foundations. The cinema ontology is to answer this question: whether the cinematic representation is related to the real world or is an independent world itself that is connected with the audience’s mind? In the cinema epistemology, the amount of reality perception is the matter of consideration. The research is based on the structuralistic methods, taking Heidegger’s theories. According to Heidegger, in every historical period, there is a special appearance of “Being”. He believed in three major periods in the thought history. The first: before the era of Socrates and Plato that “Being” was considered present in the human world. The second: the traditional metaphysic, beginning with Plato and continuing to medieval ages. The third: the modern metaphysic, beginning with Cartesian doubt and continuing to Husserl. As a matter of notification, in this article, the second and third periods considered as the metaphysical periods. The study shows that Cinema from the phenomenological approach and taking the ontological status has got the enough potential to make the reality be perceived immediately by the audience; whereas in the metaphysical approach, cinema keeps the representational and subjective status.

Cinema in elementary education is trying to convey the students, that using the voice over narration is an unforgivable mistake. The voice over narration has been technique called in film to help convey greater depth and meaning to the audience. Whereas on the one hand, there are several professionals who see it as a crutch when the director or writer is unable to move along the storyline effectively within a given scene. On the other hand, however, when it is used effectively, voice over narration can be inserted as an active agent to help provide greater impact and understanding to the audience in a way that a complex actor’s performance or scenery cannot convey. The voice over narration can be a successful narrative technique only as long as it conveys something different from the visual narrative and the narrative conveyed in the dialogue. “Double telling” is a successful device only if the point of the narration is to highlight information or themes already expressed in the plot.The most important function of voice over narration is to aid the cinematic narration. But this help is done in wide and very diverse ways. The voice over narration can reveal the inner thoughts of cither the major characters or the minor ones sometimes these inner thoughts reveal the special hidden ideas of issues that wouldn’t be apparent without the voice. Narrating by the first person Voice over narration may create a special intimacy between the audience and the narrator. In many ways voice over narration allows the viewer to obtain more information compared even with the main characters depicted in the story. Voice over narration takes audience from time to time and relates the segments to each other. In many films that have been adapted from plays (pieces) or novels, it is choosed to retain certain parts of the original narration, especially when it creates a voice of its own. Also the voice over narration can be considered as a means to give depth to the psychological and intellectual aspects of narrative. The voice over narration in the cinematic representation and the audience received of time includes a direct effect. Sometimes this technique is used to create suspense, ambiguity and surprise; and sometimes it creates ironic situations. In some cases plot going on through images and dialogues but the voice over narration without regard to them explored the issues that made the multilayered structure of the film and its enhances. Many different functions can be perceived for voice over narration. This article, by exploring a variety of functions of voice over narration in the cinema, challenges the notion that the use of this technique implies a find of weakness to the cinematic narration. To achieve this purpose, it tries to present a practical as well as appropriate classification of the main functions of this technique in fiction films. To clarify this discussion, several films are represented as the related examples and the role of voice over narration in their narratives is studied. Finally it seems that the proper use of voice over narration will express its positive role in cinematic expression

This paper aims to identify the limits of approaching an intercultural experience through a critical reading of Tickets (2005) movie. The movie is an international collaboration by threeglobally acknowledged film-makers, Ermano Olmi (Italy), Abbass Kiarostami (Iran) and Ken Loach (UK). It has thoughtful media competence by which a theoretical perspective might be realized, necessary to discuss on major challenges facing many intercultural productions. The main problem of this research is whether it might be possible to find some reliable cinematic facts confirming that the Intercultural is an unfinished experience, or not. Interculturalism, from this point of view, is not merely some kind of exchanging, transacting or transporting and integrating into different cultural effects at the crossroad of historical and geographical borders; but, it is in fact a dynamic as well as highly creative action which resulted from the process of ignoring or “forgetting” the own cultural priorities and freely “adding” them to some fragmented parts of other cultures. The “Self” and the “Other” are no longer conceived as imposing agents of some distinct national identities, but the mediators of ever becoming inter-cultural. In this sense, the intercultural experience necessitates emerging of unsustainable identity left unknown in the empty spaces of socio-cultural levels. This research purposes to characterize different cultural features examining the limits of truth and the conditions of accomplishment within an intercultural experience. Analyzig some typical facts drawn from human relations and the major events of Ticket’s Trilogy, the paper displays how the concept of Interculturalism might have been considered as an unaccomplished project of cultural fusion. Each narrative episode of the movie has a distinct cinematic character which might be culturally read as a kind of deviating from usual expectations of the accomplished mission. Many cultural facts support the idea that the movie functions as a rupture in conventional observation of self and other integrities. The findings resulted from analyzing the social roles of film characters clarify that the Interculturality is an implication subject to ever delaying and inevitably suspending its own cultural significations, requires then to be critically faced with rather than be verified and followed by. “Abnormal phobia”, “Unfinished Hybridization”, “Militaristic Paradoxes” and “Marginalization” are amongst the main factors which the paper applies to reconsider the general conception of Interculturalism. They will be analyzed respectively in accordance with the selected scenes of the Tickets. The study first begins with a theoretical discussion on the roles of cultural “texts”, and then continues with a literature review of intercultural reading of dramatic arts. It should be mentioned that how intercultural studies of Cinema have been emerged through the 1980s. By interweaving some critical debates on Interculturalism from a variety of areas, a socio-political reading of the Tickets would be realized. As a cultural criticism of Tickets’ socio-political images, the paper invites readers to think about the limits of Intercultural studies of arts and its unexpected consequences. As an objective result, it will sum up the key factors which have affected on the idea in a provisional figure.

No one can deny the certain and obvious influence of the technology on the arts. This reflects the undoubted and powerful connections between the sciences and the arts as well. Many artistic forms fundamentally depend on technology, specially the newer ones such as photography, cinema – as a whole - and animation movies specifically. Therefore, the progresses in the technology have more direct and obvious influences on these artistic forms. In animation as we may call it, the child and successor of the other predecessor art forms, the touch of the computer technology was so vast and deep that led to the creation of a new digitalized technique in animation - making. Regarding it’s sophistication and vast ability in creating state of the art animation and magically beautiful, dreamlike and at the same time very realistic imagery, this kind of animation – making in a short period of time enchanted both the moviegoers and filmmakers alike and became the most popular form of the genre. In overall we should put the influence of the computers on the aesthetics of animation as an art in three categories: 1- Computer Aided Animation; 2- Computer Generated Imagery and Animation (CGI); and 3- Image Manipulation. Each one among the mentioned methods influences animation artistic grammar and aesthetics in its own unique way. In the first one, the computers aid the artists and technicians to refine, polish and accelerate the ways of creating and producing traditional and classical animations. The greatest, as well as the most important sample, is the digital 2D Cell Animation Production System (CAPS) for Disney feature movies. In the second category, CGI (Which is known to 3D Animation too), all the imageries and their movements are basically created in the virtual-digital realm of the computerized animation software. The broad artistic language and unlimited abilities of it in creating many kinds of imagery, heavily depends on the up to date state of the art computer graphics science. In contrast to the other animation techniques that their aesthetics is mostly based on their limitations in the mimesis of reality, the aesthetics of computerized animation comes from its limitlessness in representing and mimesis of every imaginable subject with believable realism (due to its use of sophisticated technology). In the third category, Image Manipulation computers enable the filmmakers and animators to manipulate the 2D images (mostly photographed by camera) in possible ways. By other words, these techniques actually change the seemingly solid and hard recorded frames to a series of virtual wet paintings that can be altered (in shape, color, movement, etc.) by artists in infinite desired ways. In many forms of this technique, the movement of subjects can be changed or exaggerated, and actors performances be reanimated (or their images can be altered by morphfing, squash, stretch, etc.) by the means and basics of animation. The “Image Manipulated Animation” should be counted as a new stand alone technique of animation such as Pixilation or Kinestasis. In the last two decades these three main computerized methods have influenced on animation art and technique, caused a lot of interests and popularity in this genre as a very exciting form of movie making. By using the computers, animated movies have been enabled to create a very broad range of imagery, from the abstraction to hyperrealism. Therefore, the only limitation for representing the imagination of animation artists on the screen has become the limitation of their dreams and imaginations itself!

The cut-out technique is a well-known name in the animation world and can be said it is the first technique that has been used in the animations of the world (and Iran) because of the ease and simplicity of its implementation. High similarity of cut-out technique characteristics with the Persian traditional paintings may be concluded that the cut-out is the only technique that can be used for the atmosphere of Iranian animated features, as well as other techniques. However, the ability for applying the Iranian handicrafts textures such as Gelimbaafi, Pate’duzi, Moarragh, etc. In this technique mentions us the compatibility of this technique with Iranian culture and art. At the first glance, cut-out technique does not include the difficulties and complexities of work in comparison with common techniques of animation-making, but during its execution, it is absolutely necessary for the sensitivity and accuracy. Nowadays the mentioned technique is applied in the way of the Iranian animation-makers for saving the time, manpower and facilities required to be widely used. The main goal of this article is investigation about the effect of cut-out technique on the design of Iranian animation’s character (viewpoint: structural, beauty, etc.) and also will be studied the effects of this technique on the movement of characters under the camera and the software environment. In addition, it can be said that it is an essential tendency of Iranian artists that applied the cut-out technique in the Iranian animation-making. This article reviews the history of cut-out technique for answering the following questions: - How is the process of designing and movement of characters under camera and computer space in the cut-out technique animation? - What is the difference between movement of character under camera and computer space in the cut-out technique animation? - Why Iranian artists are now more inclined to use this technique? - Why nowadays the Iranian artist use more and more the traditional textures in this technique? - What are the common points of Iranian painting and cut-out technique? - Why the cut-out technique is the closest technique to the Iranian paintings in comparison with other techniques that will be considered? - What is the effect of computer on the Iran’s cut-out technique? This paper is based on descriptive and analytical method and the way of data collection and classification it has used by English and Persian related books, website, and submitted theses, also has done some interviews with the expert people in this field. Finally, in the conclusion of this article, the following items are proposed for improvement of applying cut-out technique in animation-making in Iran. - Enlisting the specialist surveillance teams in the animation production centers. - Appropriate using of this technique in animation productions. - Utilization of the skilled, creative, qualified and experts in using the executive software of the mentioned technique. - Applying the appropriate stories with necessary characteristics for making of cut-out technique. - Consultation with professionals in the film-making, especially ones with experiences in this technique.

Analyzing the conventional music of different cultures using their own generated tools of music theory is a preferred approach to illustrate the fundamental structure of music by insiders. Facts made available through the mentioned approach explains the construction of music and the musical matters in every culture which are not known through the conventional analytical systems, developed and spread by western music theory. Such efforts have been done in examining the rhythmic principles of Iranian music in some previous studies of authors. What occurs more in the current study is using the music theory generated within the Iranian culture to examine the western viewpoint of music performers living in such cultures to see how breathing in a different culture can influence the fundamental musical perspective and the music perception, even if one plays a music coming from thousands of miles outside that specific culture. In perusing this project a subject of 70 performers participated. Among them 35 performers or the players of various western musical instruments wore living in Iran (mostly natives) and the 35 persons were among players of Iranian traditional instruments, and all of the them have participated voluntarily. The average professional background of the performer was over 7 years. Three kinds of pieces played for both groups. The first one was purely a piece of western music recorded and produced in West, entitled “Night is my sister” by Edna St. Vincent Millay (Soprano by Wendy Lashbrook with 2’ 25” duration. The second piece was a Russian one by Rimsky-Korsakov called “The Rose and the Nightingale” with 2’ 32” duration. The third one was a piece of Purely Iranian traditional music by Aref-e-Ghazvini, recorded in Iran entitled Āmān, with association of one of the masters of lyric / vocal Iranian traditional music, Mohammad Reza Shajarian, and its duration was 4’ 26”. A questioner which was designed based on the fundamentals of Iranian music theory handed to subjects to fill after listening to each piece. Some of the questions were merely designed to examine the musical taste as well as the habit of subjects. There were questions among them for testing if they think the pieces contain enough repetitions, ornamentations, rhythmic complexities, distinguishable melodies, the compass, etc.; while the other ones examinedthe musical ability and understanding of the subjects, such as asking about the strategy of composer to extend the melodic range, boundaries of phrases, causes of rhythmic complexities, the nature of ornamentations, lyrical-musical relationship and so forth. Results showed that the subjects of both groups shared views in many significance issues in the two specific lines of investigations: musical tastes and the musical judgments. The players of western music participated in this project have mostly been educated in conservatories, in which the only kind of music that was taught has been the Western one, and The methodology and principles of teaching were same as the methods taught in West. Therefore, it can be concluded that the cultural inhabitancy influences on musical outlook of the person, more than the musical schools do. In the other words, the common view points between the performers of Iranian instruments and those of the Western, mostly based on the musical habits coming from the principles imposed mostly by the culture, rather than anything else.