نشریه تئاتر
سال چهارم شماره 69 (تابستان 1396)

The Western Theater in Iran was established as the traditional Iranian society encountered Western modernity. The Western Theater, which was mainly presented in the form of comedy, entered Iranian cultural life as the first modern literary and dramatic form. The first encounters with the Western Theater occurred during the journeys of students, diplomats, and Qajar government officials to the West. The Western Theater was first presented to the elite in the form of playwriting, and then in the form of limited performances. However, its development was postponed for decades because the cultural requisites were not still present. This paper traces the establishment of the Western Theater in Iran to the intellectual context of the Persian Constitutional Revolution. The research employs the reflection and shaping approaches, Lucien Goldman’s genetic structuralism, the grounded theory, and structural analysis to explore the interaction between the Western Theater and the Constitutional Revolution. The theoretical framework, literature, and research methodology are first described. Then, the intellectual context of the Constitutional Revolution is examined and its worldview is exposed. Subsequently, three sample comedies are structurally analyzed to expose their semantic structure while presenting a brief history of Western Theater in Iran. In what follows, we explore the interaction between the worldview of intellectuals, which created the intellectual contexts of the Constitutional Revolution, with the semantic structure of western comedies using genetic structuralism. Finally, we show how the Western Comedy has been influenced by the intellectual context of the Constitutional Revolution.

Increasing in the number of theatre hall in past decade caused many fundamental changes in process of the productions and also consumption of theatre in Tehran. Such many Changes that have affected on various agents, as producer groups and hall holders to audiences. This research, using the theoretical concepts of Bourdieu's sociology tries to explore the causes and meanings of those changes. Manner and condition of interaction among habitus of private theatre audiences and theatre field, distinction of them with other fields’ agents, proportion of cultural capital and economical capital in their capital volume and their trajectory in social space have been analyzed to classify their action and choices. Therefore, based on Pierre Bourdieu's methodological framework and by analyzing the causal and semantic data of the experimental data collected in the theater by qualitative methods (semi-structured interview and observation) and quantitative (composite questionnaire) The differences between tastes of different groups of actors and their areas of application, and the effect of these differences on class relations and lifestyle were studied. The result was that the trajectory of the spectator in the field, and the modes and methods of gaining control over the habitus and capitals of the field, played a key role in shaping the taste of the audience of the theater of the legitimate field, also the taste of the new spectators has imposed its own system of perception and classification on the theater, and has been able to lead to eliminated distinction of the identity of the theatres.

The topic of adaptation of historical and other texts has been one of the important topics amongs critics. This kind of adaptation is a way to create new texts, to the extent that some critics believe that there is no text that does not refer to another text in history; In fact, in the literary circle, thinkers and writers keep refering to other works produced in the past. Thus, history can also be considered as a reliable source for adoption of works both in the past and future. Here, intertextuality stands for the shaping of a text's meaning by another text; it plays important role in establishing relationship between tha past history and the modern dramatic texts. An attempt is made by the authors in this article to focus on the theories of such theoricians like Kristava, Hucheon, Barthes, and the the theory of anxiety of Bloom. The methodology used in this article is descriptive- analytical, and library- based. The authors have attepted to answer the question of how a new historical perspective has appeared with the creation of the play, A Man for All Seasons. The results indicate that in this kind of dramatic adaptation from history, Robert Bolt has been able to represent the new perspective in history.

The play is a text that is displayed on it, practiced and executed. Given that today playwriting has gained importance as an art and technology in the field of cultural and artistic activities, The most important outcome of this study is to identify elements of children’s plays by structuralism theories in order to assess the works, age rating of plays and teaching the art of play-writing. . This method of analysis provides a better understanding of the elements and shows the relationship between these elements and their impact on the child's perception of the child. In this study, we tried to show with structural patterns that children's plays, such as adult plays, have structural and complete patterns, and the playwright determines their effect by choosing and using these different elements and patterns.. Hence, two plays (with similar theme) of Kiyniyan and Ghasemi was studied in the form of four basic elements of plot, character, narrative and
signs from the structuralists view such as Genette, Lynette, Volt. The results show that the use of a simple action-based scheme, attention to the scene in the narrative movement and the use of the narrative of the actor, attention to the scope of the executive chain, the movement and more dynamism of the characters, which causes high frequency of vocabulary and the diversity of tones in the system of signage leads to the importance of the covenant chain for the inclusion of educational concepts, make the play suitable for the age group B and G (elementary school).

In this essay, we examine the playful features of Qaisar Aminpour's poem for war. The
poet in his poem illustrates the social conditions of the city of Dezful in the war. The
use of symbols and displays such as tulle flowers, red alarms, stars, night and death
are the features that can be used for a dramatic effect. The role of mother in the eightyear- old Iran-Iraq war, as well as night-time childhood nightmares, can interfere with a progressive inner struggle in a man's conflict and create an enduring dramatic effect on children. By describing these capabilities in the poetry of war, the writers provide backgrounds for the people and the Taliban to display and literature with the worries of children during the war. The method of this research is descriptive-analytic and the method of data collection is library.

Works of art have been, for a long time, the most important source for historical studies.
Among them, dramatic works, with its features that historians have been interested
in its different aspects have been shown considerable potential in terms of analysis.
In this thesis, one of the most important types of Persian drama which is called Tazieh,
with a discourse analysis approach and a historic perspective, and also by focusing
on one of its sessions-martyrdom of Imam Hossein (peace upon him)-was reviewed
and analyzed. The type of research is qualitative, and method is analytical-adaptive.
Moreover, the writers by focusing on the most important session-the martyrdom of
Imam Hossein (peace upon him)-have tried to present a comprehensive analysis of
discourse of Tazieh from a historical perspective. Accordingly, this study in addition
to increase the dramatic knowledge of readers, it adds the historical knowledge (main
feature of Islamic historiography) by the means of Tazieh, and meanwhile, present
extra understanding of Persian drama.

Sheikh-e-Sanaan tale is the most important story in Attar’s work. This tale states evolution
of this character through a love. In Attar’s opinion, transmutation in character
being is applied as philosophical and mystic demeanor to reach conclusive extremity.
Comprehending the relation between character evolution and his or her self being, it
need a comprehensive structure basis on philosophy which must be constructed on
characterization and the patch planning by him or her. This patch ought to consist
from his or her ignorance to awareness.
Danish mystic philosopher, Soren Kierkegaard has established a philosophical opinion
in his two books “Either / Or” and “Fear and Trembling” that is caused changing the
persona of a character from aesthetic to moral point. In Kierkegaard’s philosophical
system, all things are formed about a character who selects an option between private
or public alms deed. In anxiety, a moral person suspends morality to realize truth
and release dubiety.
In this paper, based on Kierkegaard’s philosophy, Sanaan Sheikh is converted to dramatic
person to become the hero of play. Realizing truth, firstly Sanaan Sheikh is an
aesthetic person who is reaching to faith on end of the tale. This process is based on
Aristotelian poetics. This Ataar’s tale can be a dramatic script that is wrote on philosophical
transmutation.