نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 25 (تابستان 1400)

Humankind is always in the midst of everyday life, and to pass through this domain, he needs action or heroic action. Heidegger believes that humans are frequently subjected to a leveling pressure that causes them to become just as homogeneous as the congregation or convergence. This leveling pressure stems from modeling and social norms that language is the most fundamental factor in producing them. It does not make his actions independent and autonomous choices but are subject to public opinion; this eliminates originality from man and makes him part of the others. What gives humankind authentication is an autonomous and independent action that separates man from all social norms that concern them.The present paper, based on the bibliographic data and descriptive-analytical method, attempts to examine the drama "verb", and answers the question of how this drama’s formulation is based on the role of human choice in the direction of existential authenticity. It also describes how to consume the language as an equalizing factor and shows that in the verb drama, language creates a bunch of vague meanings and does not allow that characters express their feelings, and thoughts and intentions, but in the meantime, the character of Leila independently chooses to separate her from the rules of everyday language. It makes Leila find existential authenticity and accept death. In the same way, Farhad also faces this and returns to the course of the relationship between death and the originality of "self."

Boredom is one of the major dilemmas of the 21-century man. Some consider this the result of excessive leisure and some as a specific disease that may be afflicted by anyone. In Chekhov’s plays, boredom is one of the predominant features of characters; these characters are bored, and this boredom does not necessarily maintain a particular cause. Many critics deem this as a consequence of a special Russian lifestyle of that period. Decades later, Heidegger in one of his creditable theses considers boredom the existential feature of human which has roots in their Dasein. In fact, to Heidegger, boredom is specific to human’s individual existence. Heidegger defines boredom in three diverse levels which vary in terms of their depth, and he identifies the existential boredom as a boredom which is the deepest one and leads us to our existential origins. In this research, it has been illustrated that Ivanov’s boredom represents his existential boredom rather than the boredom which stems from a special Russian lifestyle or his psychological status; the boredom which suddenly enfolds him, cripples him, and subsequently exposes him to all potentials of his existence.

Cinema as a narrative medium has the human thoughts and concepts more than any media in the contemporary times; moreover, this medium has been influenced by other media such as literature, philosophy, politics, theater, visual arts, and so on due to its eclectic nature; in fact, the cinematic works are the texts that are affected by other text fields. Thus, an intertextuality approach can help identify the constructive pre-texts in the cinematic works well. An intertextuality theory states that any text has been created based on its previous texts. No text is produced or even received completely independently. The texts can appear through communications; as a result, each text has a sign of other texts in itself and a new text is created during these intertextual relationships. This theory was created by Julia Kristeva and was developed by the viewpoints of the thinkers such as Barthes, Genette, and Gifator. The Turin Horse focuses on a pair of impoverished potato farmers, father and daughter, and their horse (stated by the narrator, literally or metaphorically to be the same one seen by Nietzsche) living in a post-apocalyptic society in which a violent wind blows unremittingly. They live out an arduous and repetitive existence defined by nihilistic despair; they often take turns sitting by the window alone. The horse is increasingly uncooperative, refusing to leave the property or eat and drink. A neighbor visits to trade some goods; he claims the neighboring town has been destroyed and blames the apocalyptic scenario on both God and man. Later, a band of gypsies arrives and drains the farmers' well of water. The father decides they must abandon the farm; the two pack and depart with the horse behaving uncharacteristically well, but return home and unpack shortly after leaving for unspecified reasons. They remove the horse's reins and shut it in the barn. The world then plunges into absolute darkness; the two try lighting lamps but find they quickly extinguish, even the coals. The next day, the winds can no longer be heard inside the house. Now subsisting on raw potatoes, the daughter refuses to eat or talk, seemingly resigning to her fate. The father appears to follow, not finishing his potato and sitting with his daughter in silence. The movie "The Turin Horse", the latest work of Béla Tarr, Hungarian director, is an intertextual work that severely affects the viewers through its complex dimensions. This excellent and distinct movie in terms of the idea and form has been created under the influence of other texts. This paper tries to analyze the effective pre-texts in a cinematic outstanding work by the intertextuality approach. The present research, in which the data have been collected in terms of the analytical-descriptive research method based on an intertextuality approach and as a document, looks at one of the most distinctive contemporary cinematic works by the creator and reading viewpoints in the intertextuality field.

Cinematic image derived from the medium of cinema, through architecture and space, nowadays considered as "Architecture of Image", beyond film dialogues, plays a major role in creating meaning, communicating with the audience, developing the story, narrating and defining the characters of the film. Today, with the dramatic growth of the visual media, the definition, concept, and perception of the image, in comparison with previous attitudes, have changed significantly. Various theorists, by entering new areas of the image, have explored new ways of communicating images with the audience and reached new findings. For example, Hans Belting argues that the media is not a mediator for the image and proves that in the creation of the meaning and sense, the medium and the way its tools are used have the central role, not the image, and accordingly, one can manipulate and control the concept of the same image by changing the medium. In this research, Belting’s views were adapted to the image obtained by the medium of cinema and finally, as a case study, the dramatic interaction of architecture and space with cinematic image, as well as the achievement of the adaptation of Belting's views on the medium of cinema on Tim Burton's film Edward Scissorhands have been studied and analyzed.

Since the early nineteenth century, memorizing a music piece and its effects on piano players has been one of the most crucial issues in teaching and playing piano. On one hand, performance from memory indicates a player's mastery and provides the opportunity to focus on emotional expression, leading to more effective communication with the audience. On the other hand, it is regarded by some as a waste of time and energy, especially when it comes to Avant-guard music. The present study consists of two main parts. First, psychological definitions of different types of memory, visual, auditory, kinesthetic, and analytical, have been used to categorize memorization techniques. Subsequently, the study continues examining the "process of memorization" and the "skills of using memory in performing music. “The latter part of this section center on "reviving musical memory through signs" and "Strengthening the process of memorizing music pieces" in addition to "concentration practice" and "Mental practice (sans instrument)". In the second part of the research, a questionnaire in the Field’s method has been designed to examine the propositions on the subject of memorizing parts, catering specifically to Iranian students in Tehran to find answers to the following questions. 1 - Does memorizing piano pieces affect the desired sound and improve the performance of piano players? 2 - Does memorization provide the most freedom to express the beauty of the music? 3 - Which memorization techniques execute the members of the statistical community use the most? 4 - Do students consider learning and memorization as an integrated holistic process or as two separate processes? This is descriptive-analytical research that utilizes a statistical society consisting of 30 piano students at the intermediate level. To measure the correlation of the questionnaire, Pearson Correlation Coefficient was used to test the research questions. The results of this study showed that there is a positive and significant relation between memorizing a piece of music with the freedom of the performer. Sound quality and improving performance. According to data analysis, Iranian students considered learning and memorization as two separate processes. Also, according to statistics, muscle memory techniques were the most used among Iranian piano students; statistical analysis suggests that the association of music with the help of words or images in the mind have the least use among Iranian students. The most common technique employed by participants to stabilize memory is to imagine the movement of fingers in performing the piece, in addition to listening to the audio file of the piece. This research emphasizes the effectiveness of memorizing techniques in improving and accelerating the process of memorization and obtaining the desired result using the combination of memorization techniques for improving the performance of the pianist and achieving safe memory is useful. The descriptive table shows that the best results point towards the use of muscle memory, followed by aural, and analytic memorization. The use of visual memory was the least used among piano students.

This research tries to study the quiddity of Īqā’, rhythm, and other temporal musical elements which exist in forming a sonic event and also a sonic system. The above concepts are employed in fundamental theories of middle age and contemporary age as well as of Iranian music’s history. They are usually used to describe the duration of musical sounds. In the studies performed in this field, the main and basic quiddity of Īqā’ & other concepts is less paid attention to. The methodology utilized in this research is based on the descript-analytic method in a qualitative way which focuses on the temporal bases of music and the kinds of sonic systems existing in it, from the aspect of lexicology and the physical expression of sonic events. The information gathered in this research is based on library documents and primary documents such as manuscripts of treaties about music in the past, especially Risāleh Mūsîqî by Afzal al-Din Maraqi Kāshāni also known as Bābā Afzal. The above treaty goes back to The Seljuk period. In this treaty, Bābā Afzal defines Īqā’ as pause (Standstill). This definition is mentioned exclusively in this treaty, and it is quite different from other definitions in other treaties. The findings of this research prove the accuracy of this definition. According to the findings of this research, a sonic event, in its most essential formation, regardless of specifications of musical sounds like pitch, timbre, dynamism, and duration, stands on four temporal bases: Khiz, Zarbe(stroke), Harîkat, and Īqā.’ Khiz doesn’t have an equivalence in the theory of international and Iranian music, and it is talked about for the first time in this research. Khiz is defined as a movement to gain energy to vibrate the source of the sound. Singers and woodwind and brass instrument players breathing, raising hands or fingers in percussion instruments are all examples of Khiz in music. Relying on this concept, a more thorough understanding can be established of the concept of the meter. Zarbe (stroke) is defined as transferring saved energy in the plectrum to the source of sound that makes it vibrate. Harîkat is defined as the formation of mechanical waves in the air, made as a result of the source of sound’s vibration. Īqā’ and its similar concept, rhythm is a pause (standstill) which forms duration by making disruption in the process of movement and its division. These four elements along with the gradual presence of the concepts: duration, grouping, puls, and meter makes more complicated sonic events categorized by bounds as sonic systems. Sonic system due to each of the above specifications presence possesses significant characteristics which are called Hijāi system, Vāzhigāni system, Sefid system, Mosajja’ system, Adwāri system & Aruzi system based on structural complications of sonic events and the order of their occurrence. Sonic systems are organized next to each other and in the above order in one continuum called the temporal systems continuum of music. The temporal structure of pieces of music can be considered as a member of the sonic system of this continuum or a form made of more than sonic systems.

Concerning some quotes of masters and scholars of Radif and evidence in Dastgahs, as well as the similar point in treatises of the pre-Dastgah system, it seems there are numerous kinds of connecting items in a Dastgah. Therefore, this research was implemented to find the relationships between the components of Dastgah-e Homayun from the MirzaAbdollah Radif. Homayun is one of seven Dastgahs that includes many Gushehs in various modes. The score employed in the analysis of this Dastgah in this article had been transcribed by Dariush Talai. He has written it regarding NurAli Borumand’s interpretation. In this Dastgah the relationships were found to occur generally in three states: “between two Gushehs”, “between one Gusheh and a modal region” and “a Gusheh and the pivotal mode of Dastgah named Daramad.” To analyze the main issue, it needed to define “connection elements” as a primary definition. This item contains two main categories as a practical manner to show a connection. One group is overt elements, and the other which conforms to a principle is about resolving the dissonance factors. In the first group, there are some items as playing: “a common note or a shifting between two certain notes”, “similar rhythmic or melodic phrases”, “similar cadence” and “in a common modal ambiance.” The second item is about the changing notes and modulated Gushehs. The previous author’s research on dissonance factors proposes that the changing notes resulted from varying the notes for resolving a non-perfect fourth interval between the notes of a Dastgah to a perfect fourth one.In describing connections items in Gushehs of Dastgah-e Homayun, it found a collection of serial or/and parallel relationships coincidentally. As a most important result, one of the most practical functions of connection elements is for predisposing a change in the next Gusheh or Gushehs. As well, it was uncovered that the cadence of Gushehs with a modal region that was far from Daramad occurs in two steps or a different Gusheh, e.g. in Bidad mode. Almost all the connection elements exist in the cadence of the previous Gusheh and the introductory phrase of the next one. For that, a criterion is defined to indicate the cadence zone of a Gusheh. It is worth mentioning that in an analysis of Mavalian, the limitation of the third string of Tar in the playing was found to be effective.