نشریه تئاتر
سال چهارم شماره 70 (پاییز 1396)

Ideas and believes of Sophists has been significant by philosophers. So that after of Plato, Socrates and Aristotle; some prominent scholars like: Guthrie, Leski, Al-Ahvaie, Hegel and others research on it in tow approach widely: first they research on Sophists by they fragment. And second that they follow of Sophists believe in Plato articles. Purpose of this research is what is the Ajax weakness of character according to fragment of Sophists in three approach: Low, God and the Power for answering to this question that: why the shield of Achilles not granted to Ajax?
According to this research it seems that Ajax weakness of character will be explanation by Sophists believes.

Does evil have an independent nature? Does evil affect man and his performance? Or man by his performance makes it. Evil nature has fate and Forceful or It comes from the will of man? Answer the two questions is the main challenge of this Research for the function of characters in Shakespearean tragedies determines their impact or influence. Evil is the central element in tragedy. The tragedy is about the relationship between man and the world. A relationship that sometimes lead to human degeneration and sometimes it will focus on the contemplation of this ruin and darkness. Something that distinguishes tragedy from other dramatic structures is the expression of the evil force and its destructive level influence. The effort of this study is follow up the characters of drama and evil relationship and evil acts in tragedy. How evil can become an active and decisive element in the play? Therefore, the aim of this study is to discover the mechanism of the formation of Government of "Absolute Evil " and its domination in Shakespeare’s Tragedies .As claimed in the above lines to explore the plays the two basic , objective and tangible elements it is considered ,Action and protagonist .Action and protagonist are fundamental elements for creating drama .Of course, requires and relies to Propulsion force .How to the Propulsion force is formed ?Process of populace characterization ,communication of aim with disaster and evil ,internal and external communication among actions ,ignorance and mindless creates a range in which actions become inevitably vicious .This range is the concept of evil domination which is formed in tragedy .The reason for the use of Shakespeare’s tragedies is that unlike Greek tragedies ,Shakespeare’s tragedies are formed beyond destiny fatalism .The creation of catastrophic affair in these tragedies is disobedience of human from right and rational affair .Shakespeare’s tragedies have been created about man mistake and vicious qualities of man’s nature .absolute evil can be linked with totalitarianism Totalitarian regime is a collection of Hannah Arendt’s reviews about evil and human evil .Hannah Arendt believes that evil is formed somehow in human existence and society ,which becomes a fundamental element .The study of two dramatic elements of action and protagonist( based on Arendt’ theories about evil )in Shakespeare’s tragedies to achieve the concept of evil domination in these tragedies has been done in this research. The main source of tragedy in this research is Dr .Pazaragadi’s book .In Pazaragadi’s book ,the plays of Pericles and Cymbeline are in the category of tragedy but They do not have Principle and criterion of tragedy .They do not have a catastrophic and painful end .So they have been neglected in this research .The following 9 plays have been considered :Hamlet, Othello ,King Lear ,Macbeth ,Anthony and Cleopatra ,Timon of Athens and Coriolanus ,Julius Caesar and Romeo and Juliet.

There is no doubt that experimental drama is one of effective elements on evolution of world drama, and patterns developed on its base have been adopted by many contemporary pioneer drama groups. The pioneers of this specific type of drama have made to preserve their independency in performance and creation of unique works until today.
Since early 20th century, observers have been one of the main headaches for drama directors. Through years and with emergence of more diverse forms of alternative drama, observers’ participation method has been the main elements of the stage; so that lighting experts all around the world have found new ground for work.
Considering the importance of the topic felt by the researcher, this work is a try to survey formation of observers- performance relation in a process. First of all, a definition for the term “observer” and “observing event” is given followed by investigating religious roots of drama. Moreover, as concluding part, works of some dominant directors in this field will be discussed; along with introducing their executive techniques.

The first stage dramaturgy is a performance that begins not with the text and not ending the show. The importance of using this term for Barba is at the center of attention and emphasis on the actors’ preparation process. In this perspective, dramaturgy is a technique for realizing real actions in the world of storytelling of dynamic stage space. The dynamic space in the design is a combination of light, sound and image. With the difference that technology plays an effective role in the aspects of illustration and composition, it shows the space of execution as the assembly space. These are the most important pillars of the post-modern theater. In the theater, the electronic equipment, with the help of the director, is more flexible and more selective. In this new space, in contrast to the two-dimensional space of the classical design, with the advent of the events we noticed a story, there is no definite storyline. For this reason, the body movements of the actor are not to express feelings or storytelling, but to regulate active elements in space. With the increasing growth of non-text shows and with different approaches in the field of implementation studies, an examination of the behavior of the actor in this space is necessary. Therefore, the research with a post-modern approach to how the actor’s relationship or act as Darmathorr with the stage of the theater’s dynamic scene Postmodern The purpose of this question is to achieve the new meaning of acting and technique of the actor. The present study is descriptiveanalytical and in terms of collecting library information.
The data analysis was qualitative and the non-random sampling method was used to select the subjects. The findings indicate that the dynamic space is the result of the unity of digital instruments, media, technology and the body. In this space, new relationships are defined between the actor and his body, which means that they create a unitary entity. The actor is in the new definition of body and sound, which identities in space, and is not merely part of a coherent whole.

The second half of the twentieth century witnessed, on the one hand, the appearance of performance acquired by dissolving the boundaries between arts and the amalgamation of the media while, on the other hand, the infiltration of technology into the field of avant-garde art, leading to an entirely different redefinition of the very term of ‘theatre’. The virtual cyber and High-tech created spaces have transformed the conventional image of the scene. Postmodern approaches within literature have caused revolutionary remodeling of writing texts related to the scene. Also the presentation of ‘non-existent ‘personage’ and ‘dialogue’ with hardly any trace of eloquent expression, rather in the form of the solely prosaic, modernized the traditional image of performers and performance. This change in paradigms went so far as include the last couple of decade’s empirical and professional groups of the last century -with the various approaches- to be in line with defining modern theatre in the contemporary world. German musician and director, Heiner Goebbels, a well-known artist in this field, managed ambitious and courageous experience in combining arts. At the beginning of the eighties’, he began to work with a ‘staged concert’, then ‘musical theatres’. In performing ‘Stifters Dinge’, Stifter’s things (‘performative Installation’/music theatre), which first appeared on the stage at Théâtre Vidy-Lausanne, Switzerland, in September 2007, this was inspired by the theory of Hans- Thies Lehmann’s ‘Postdramatic Theatre’, albeit having been developed to remove the actor from the scene. However, one may question: Is removing the performer from the theatre scene even possible? Can a ‘theatre without actor’ remain a ‘theatre’? Or will removing the actor change the paradigm of acting? If the condition -of removal of the performer- is changing the paradigm of ‘performer’, what about other elements of theatre; will there be any fundamental changes? Goebbels attempts, while emphasizing on the spectators’ watching and listening, to separate these two elements, to man’s (subject) ability to grasp the world without any mediator, providing him with the pleasure to discover ‘things’, because he considers the theatre as the potential of rediscovering different things.

Take a look at the history of intellectual development - human societies shows art as a factor for the development and deepening of the culture of these communities has been considered .There is no doubtthat the performing arts and the theater are as an important part of the culture of any society.Therefore deep attention from the management institutions and the governance is need .Despite the changes and developments in different fields of art ,obstacles and problemsof art is not fundamental changed.So the issue andthe permanentproblem,is the management problem.
On the other hand artists as an important part of creative havesucceededindependently of the government management .They follow their goals and desires based on group decision-making and cooperation.
This study attempts to investigate the new method of management team and the writer through a detailed analysis of Innovative management. Therefore ,it attempts to present plainly and briefly the main points of creative decision-making ,group decision-making ,intuitive methods and the same time ,to situate structure for more accurate decisions in the field of art.

One of the ancient human problems is compare with the death. Humans have tried with compare the death. He made immortal, birth and life myth opposite the death. That is an important problem for humans. Ever culture and family product same customs. These customs are different but all of them had same constructions and same functions. Immortal and opposite with the death is common needful of ever humans. Immortal is very important in life of initial mankind. In order to that problem is essential element of initial written myth is immortal.
Ghilghamesh is an Assyria legend. He is as strong as Rostam in Iran, Heracles in Greece and Hercule in Rome. Anybody cannot fight with Ghilghamesh unless death. He little by little that death is essential in the life.
This myth has function in modern life. Meanwhile dramatists have written about it. This article tried the narrative element in Ghilghamesh has been appeared basd on Northrop frye theory. Narrative element will research in this article.