فهرست مطالب حمیدرضا افشار

Contemporary documentary theater can be considered a kind of social struggle to reproduce, shape and remember history. Documentary theater is a branch of modern theater that acts as a catalyst for social and political change, addressing issues such as government, power, behavior, customs, and public opinion Documentary theater relies on documents such as reports, records, statistical tables, and interviews to develop the form of performance and tries to engage the audience, which is one of the most important elements in theater, objectively and concretely. This article aims to identify new methods in the development of documentary theater and examines the mise-en-scène and directing in the theater based on verbatim.Verbatim seeks to raise and challenge the social and political issues and problems of the present age with a new form and method and in accordance with modern technology. This article raises the main question whether the structure of the mise-en-scène and the direction of the actor in the documentary theater based on verbatim essentially follow a certain definition or not while describing documentary theater and analyzing the different forms of verbatim.Considering the fact that verbatim is a form of theater based on recording and interviewing, directing the actor in this method happens in such a way that the characters on the stage represent real characters, and therefore the actors are obliged to observe the tone and manner of expression of the person.This research is descriptive-analytical and the result shows that the structure of verbatim consists of a triangle of technology, text and body. In the relationship between these three, we can understand the importance of the position of mise-en-scène in the process of creating a verbatim play and especially in directing the actor. Also, the actor’s play in the form of this structure is believable.

According to Gilles Deleuze, the Virtual is the ideal dimension of reality and the virtual image is the inseparable part of crystal-time between subjectivity and objectivity, which is the most complex form and structure of narrating time Deleuze,. This study aims to illuminate the concept of the virtual image in Gilles Deleuze's philosophy, and since the main hypothesis of this research is the effect of the concept of the virtual image on the "European art cinema movement" in the field of narrative's methods and structures, hence the research In order to prove this hypothesis, after explaining the concept of the virtual image and its role in the crystal-time model in Gilles Deleuze's philosophy, the study will examine movies like; Hiroshima My Love 1959 - last year in Marine Wind 1961 - Immortal 1963 in order to demonstrate how these films have achieved different representations of a time in their narrative structure and what are the differences with a linear structure of time. Also, this research seeks to achieve a model for reading and analyzing this type of time-oriented narrative.

The goal of this research is to provide a model for theater audience consumption experience through a qualitative and practical approach with ethnographic methodology. The target community of this research includes all theater audiences in Tehran and sampling has been done with judgmental and snowball sampling methods. After carefully investigating literature and background of research 20 theater audiences were chosen who go to theater at least 5 times in a year. “The City Theater” and “Iranshahr Theater” complexes were selected as the research field because of their reputation and rich history. Participants watched nine performances during the time of research. Data has been gathered by Ethnographic data gathering methods including Narrative Inquiry, Participatory Observation and Deep Semi-structured Interviews. Consumption experience was analyzed in 3 stages: pre-consumption, core- consumption and post-consumption experiences and the whole experience as a conclusion. The analysis has been done with thematic analysis by NVivo.12 software. In coding phase, first 256 open codes were found. After code refinement 131 codes were left which were converted into three main abstract headings: affections, cognitions and behaviors. At a higher level of abstraction, these codes constituted the behavior of theater consumer regarding motivations for going to theater, factors affecting theater selection and pre, core and post experiences. The results show that “perceiving meaning” is the most influential motivation for going to theater, followed by theater’s closeness to daily life and a sense of belonging to theater audience’s community. The most important factor for selecting a performance is it’s the theater hall followed by friend’s recommendation. The model shows that going to theater is like a ritual which audiences respect in their theater consumotion journey. In each step, pre, core and post consumption experience, audience sees him/herself in a ceremonial event which has its own rules like wearing artistic clothes, selecting friends, going to café, etc. before the theater. At the core consumption stage, the ritual demands that audiances respect the performance by maintaining silence, interacting with other audiences and artists and in post-consumption stage the ritual continues by talking to others, and collecting brochures and photos to remember the event later on. Meantime, motivations and selection factors affect the theater consumption experience entirely. This model provides deep understanding of theater consumer behavior and helps theater organizations and marketing experts in optimizing theater consumption experiences.

In recent years, the advent and development of new forms of e-currencies has threatened national currencies issued by central banks (which perform various functions on terms of exchanges and monetary policy). In view of the foregoing, Central Banks are trying to develop cryptocurrencies that perform both the functions of decentralized digital currencies whilst preserving the sovereignty of the national currencies. Various Cases of this effort are currently being trialed or studied on an experimental basis in many countries. This study investigates the effects wrought by the issuance of digital currencies by the Central Bank on the macro economy of Iran. For this purpose, the methodology of this paper relies on the analysis of data from interviews and questionnaires.The results obtained indicate that the issuance of digital currencies by central banks can be effective in improving the nominal-monetary variables of the economy. Furthermore, among the other positive effects of the issuance of digital currencies include; enhancing the efficiency of monetary policy tools; increasing the efficacy of monetary policy platforms such as the interbank lending markets; improving monetary transfer mechanisms such as the payment system, improving the efficiency of financing and investment.

Dramaturgy, as a creative and critical act dependent on the theoretical and practical knowledge of theater, consists of two parts with Greek roots: Drama (action) and Ourgia (work and operation). Ourgia literally means to practice, act, and in other words process a raw material. Eugenio Barba divides Dramaturgy in to three parts: Actor Dramaturgy, Director Dramaturgy and Audience Dramaturgy. The modality of the process of acting (character action, corporeal action, and phonetic action) as actor dramaturgy is collaged, divided and assembled and then the dynamic stage motions present in space and time are conducted by actor. Paul Castagno, in his recent theorem, expounds dramaturgy as ‘‘Individual creative contribution of the actor to the growth of a performance’’ and ‘‘actor`s ability to root what they have recounted into a structure of organic actions’’. This perception emanates from a mode that a play, without actor`s cooperation and taking part, would never take place. Through this combination to create the character, Geoffrey Proel attributes the dramaturgical responsibility to the actor and asks them to participate in the creation of the content performance and transfer their lived and personal experience into the organic dramatic structures of the performance. The major problem of this paper is to expound and elucidate the relation between dramaturgy and actor, based on modality of production, exchange and combination of two internal structure (organic force) and external structure (dynamic force) in post-modern performance in theatre. Patrice Pavis, in 2000, predicted the need for an actor-dramaturge to complete playwriting in the 21st century. In order to complete the present study of Patrice Pavis’ recent theory in the field of dramaturgy-actor, we tried to use the later theories of thinkers such as Edvard Brands, Eugenio Barba and Jeffrey Proel. The present article, using analytical-descriptive method based on dramaturgy theories, presents a model of communication between dramaturgy and actor in the dynamic atmosphere of postmodern theater, which relies on three sides of imagination and conceptualization (a priori agent), Analysis and practice (current agent) and production and performance (posterior agent). Theater in general sense, and acting in the specific, are faculties that are in an internal structure; as the organic force and an external structure as dynamic force, are dependent. The result of the study shows that the combination of the phrase dramaturge / actor plays an important role in the actor’s attention to theoretical, practical and critical considerations to eliminate the shortcomings of rehearsals in the process of creating a role during a certain time.

Acting requires technical and skill training. Accepting the fact that there are not many educational methods and all theories end up with the “Stanislavsky system” during the last century, many teachers, directors and researchers mix methods to achieve a unique method. Just like the influence that Lee Strasberg, Stella Adler and Sanford Meissner received from Stanislavsky and founded a new method called method teaching in America. Since the aim of the current research is to analyze the character creation based on Terry Schreiber’s practical techniques, this question arises, what new solutions does Schreiber, who continues the formative process of teaching, offer to actors. In Schreiber’s education, it is important to understand this principle that he believes in the combination of two schools of thought, “Going from the inside out” and “what if...” and believes that these two contain a means to reach the same goal; Helping actors activate their tools, increase their imagination and thus expand their abilities. Schreiber provides actors with a box of suitable tools. It means an infinite variety of exercises that will help actors to analyze the character of a role. The goal is for every actor to understand “how to work” on himself and achieve success. Schreiber’s understanding is that each actor can develop his talents in a different way depending on his individuality. He believes that neither the system, nor the method, nor any other technique, have the same application for everyone. Therefore, it does not limit the actor to any specific model and trains multilingual actors. In order for the actors, by expanding their skill and technical tools, to have the necessary self-confidence to play in any situation. Therefore, invention, creativity, innovation along with taking risks are important components in his educational process and it is important that every actor has creative growth. Schreiber has discussed discoveries and experiences that are among the new ideas in the last sixty years of acting education. In such an approach, all the work of the class is about investigation, discovery and learning, and the structure of the exercises is not random in any way. This training method is designed to fully prepare the actor to appear in a professional environment. A game with a combination of intellect and instinct. The current research is in terms of descriptive-analytical method and in terms of the method of collecting library information. Data analysis is qualitative and non-random sampling was used to select subjects.

The actor's "body language" is one of the most important tools for invigorating the characters of the play, which can also represent the geography, history, culture, and society of the play. The mystical culture of Iran, especially the part that flourished in the context of Islam during the 3rd to 9th centuries AH, emphasizes certain bodily states. By using these body postures, the actor can manifest a kind of spiritual behavior while using words. Contemporary studies in the fields of "non-verbal communication" and "visual culture" have investigated the same issue from a psychological and sociological angle. Stanislavski's acting system, which is a relatively new system of acting training in the last hundred years, has explored the inner roots of bodily actions. Using the comparative-analytical method this article deals with the body language in the three mentioned fields in comparison with Sufism and Islamic mysticism. It shows that by teaching the quality of body language of Muslim mystics, through mystical stories and texts to the actor, he will be able to dress up his body as an artistic medium and achieve a more creative, indigenous, and original image of his role.

The main purpose of this article is to examine Sheikh Shahid's opinions on art and beauty based on his philosophy of light and its effect on Iranian performance art. In fact, in parallel with the thoughts of Sheikh Shahid, the equivalent of the effects of this Muslim philosopher's thinking on the thought of Iranian artists is brought so that the reader can make a comparative comparison about the topic raised and get involved with the topic of the article. In this research, first, a general discussion about the relationship between art and wisdom is presented, and then the epistemological perspective of "Sohrvardi" is presented with the intention of being able to express the perspective of the thoughts of this wise sage in a small volume, so that the reader can have a general knowledge about him. to achieve Then it entered the category of light and its meaning and place in the Qur'an, hadiths and other religions have been examined to be a prelude to entering the category of "Sahvardi's" light wisdom, especially the light of "Khora" which in his enlightened wisdom It has enjoyed a high position. Then, the effects of his thoughts on the works of Iranian artists have been researched with a general view.

Pray-for-rain ceremony in Iran is one of those which is performed individually or in group to ask for rain against the anger of nature. Since one of the effective mechanisms in keeping and promoting traditional ceremonies is recreation of them in the shape of modern arts, this research suggests the common aspects of performing elements in Hederse ceremony with Performance according . The dominant pattern in this article is the schechner theory about performance and its relation to the ceremony. According to this theory, the theater and the ceremony are the reflection of a common human activity. The art of performance is willing not to separate art and life, its all goal is the share which the audience should do to complete the performance in order to create it and finish it. Performance is the modern return of us to ceremonies which join art to life, traditions and custom. It makes interaction between human and nature. Schechner believes that if we mix a ceremony with a real event, we can use the best out of a group performance. Art of performance is responsible for ceremonies goals in our era. The method in this research is descriptive analysis. Library data and fieldwork are used to collect data. The results from this research show that there are common things between pray-for-rain ceremony of Hederse and art of performance in respect to elements such as performer, audience, time, atmosphere, accessories and music so that can be performed in the form of performance.

Time, for Henri Bergson (French philosopher, 1859-1941), is continuity, progress, and heterogeneity. In addition, because of this perspective, it can be seen that time conserving and preserving the past. Thus, for Bergson, this is the core of his idea about time and memory. Which memory conserves the past and this conservation does not imply that one experiences the same (re-cognition), but difference. One moment is added onto the old ones, and thus, when the next moment occurs, it is added onto all the other old ones plus the one that came immediately before. This is his answer to the question about human beings and the nature of time, this is the concept of duration. This study intends to explain the concept of Duration in Henry Bergson's philosophy and since the main hypothesis of this research is the effect of the "Duration" in Henry Bergson's philosophy on the "European art cinema movement" in the field of narrative's methods and structures. Therefore, in order to prove this hypothesis, after explaining the concept of duration in Bergson's philosophy, the study will examine some of the films of the European art cinema movement, namely the films of Hiroshima My Love 1959 - last year in Marine Wind 1961 - Immortal 1963 In this way, it shows that these films have achieved different representations of time and duration in narrativity by creating novel and complex chronological order, timelessness in the narrative, and the creation of a variety of internal, external, and composite retrospectives(flashback), which can be interpreted by Henry Bergson's definition of time and his concept about duration. Also, this research seeks to achieve a single model for reading and analyzing this type of time-based narration.

Theater and architecture create space and the spirit of life through settings, and both possess the nature of movement, time, rhythm, light, and color. Space and time are the most important common elements of these two arts. Theater directors and designers can put on meaningful and identity- based performances if they make organic use of the human-space relationship in creating space. Phenomenology, due to its ability to recognize the relationship between man and the setting, could be effective in this process. This article analyzes the concept of space in theater directing and performance from the perspective of Christian Norberg Schulz. The main issue of this interdisciplinary research is the evaluation of related conceptual and practical indicators between architecture and theater. Thus, to achieve the main purpose of the research according to Schultz’s theories and viewpoints, “Einstein on the Beach” performance which was designed and directed by Robert Wilson was analyzed. Therefore, by analyzing Schultz’s phenomenological perspectives on the existing structure in space cognition, a descriptive- analytical method was used to achieve the criteria for evaluating space and its characteristics in theater directing. The results show that to improve the organic relationship between the audiences and the actors with the performance, phenomenological approach can be given identity and meaning to the theater scene and performance through the relationship between man and the setting in the creation of space.

The visual form of a film is the construction of visual elements. This framework is used to advance the story, giving meaning and conveying insight and feeling to the film. In film, there are techniques and rules for arranging visual elements. These techniques are not changeless and fixed laws, but they change according to a film structure or director’s style. This research is intended to generally study visual structure in films and in particular, Iranian films. Bahram Tavakkoli is an excellent example of this study because his works belong to the stylish part of Iranian movies. The main reason for this study is gathering a proper knowledge of visual elements in film. This research uses a neo-formalist approach for studying the visual form. It means that it emphasizes the dynamic structure of the film which becomes complete by the audience. Neo-formalists emphasize the importance of the form in film, and they believe it is something ordered, and rule based. Every element of this structure must be in relation to other elements making a construction. Even the meaning of a film is part of this structure. Form and meaning are intertwined, so we cannot separate them. Neo-formalists also emphasize on the audience’s perception system. They think all attendees have inner perceptive systems which help them to gather data from films. Any formal structure cretaes some expectations for the audience. So viewers, dynamically participate in perceiving, analyzing and memorizing data and information they gather from films. We can see this dynamic structure in Bahram Tavakoli’s films. By concentrating on the point of view, time and space, using shallow depth of field, telephoto and wide-angle lenses, high and low key lighting, low saturated colors, changing hues and subjective spaces, Bahram Tavakkoli gives his story-telling process, a stylish visual characteristic. The first step of this study is analyzing the meaning of form according to neo-formalistic approach. Then the relations between visual form and story structure will be analyzed with Boris Block’s theory of Visual Structure. It suggests that a film divides into three separate parts; Exposition, conflict, and resolution. Exposition is part of a film in which characters and spaces are introduced to the audience. In conflict, there are struggles between protagonist and antagonist. Resolution is everything that happens after the climax. Also, every film has some important points, like the beginning of the crisis and the climax. All of these parts and points have their visual characteristics which are described in this text. After setting up a theoretical base for analyzing images in film, we study Bahram Tavakoli’s films. There are three films that we review; A Walk in the Fog (2010); Here without me (2011); The Shallow Yellow Sky (2013).

The visual structure of a film is a construction of connected visual elements of that film. This structure is used to progress the story, make the meaning and transfer the feeling of that film to audiences. So a good way for studying any filmmaker’s films is to understand his or her film’s visual structure and techniques. In this text, the goal is achieving this understanding about Asghar Farhadi’s films. This doesn’t mean that we want to understand the image in his films abstractly, but we want to analyze the connection between image and story in his films, So we use a descriptive and analytic method. At first we describe the connection between image and story, and then we analyze this question that why Asghar Farhadi’s visual techniques are so impressive and effective. In this text also we emphasize on visual structure as a dynamic set which is completed in audiences. For this reason at first we describe different parts of a visual story according Boris Block’s theory and we try to reveal how the visual characteristics of a film change through these different parts. Then we study the relationship between semantic structure and image in films. Then we analyze Asghar Farhadi’s films according to the connection between visual structure and story and we disclose Farhadi’s visual techniques in the process of storytelling. The most important questions of this research are that how image in a film can fulfill dramatic goals of that film, How it transfers feeling and meaning of a certain film to audiences. How it progress conflicts of a film. For answering to these questions we should go back and study film not from image but from story. We should grab and understand the meaning of story and its structure. The image is a vehicle to transfer the story. So understanding story structure is necessary for understanding image. But how can we understand story. A very effective way to do this is to divide story to three different parts; 1-Exposition; 2-Conflict; 3-Resolution. Exposition means revealing the characters and story conditions. Conflict is a situation in which the main character fights against antagonists or other obstacles. And resolution is the end of a film, when other story lines will be completed. And also there are several important points in a film, for example the beginning of a crisis and climax. Block believes that all these parts and points have equals in visual structure of a film. So we can talk about visual exposition, visual conflict and visual resolution. Any of these parts has its own visual attributes. So for analyzing visual characteristics of Farhadi’s films, we should study these different parts in his films. According to this study we deduce that Farhadi, with the use of visual realism, makes dramatic constructions of his films stronger and attracts audiences to his characters. For this reason, visual techniques like deep space, handheld camera, several points of views, limited color pallet, merging negative and positive spaces and high key lighting become main methods for cinematic expression in his films.

Three-dimensional radio dramas can be divided into several categories with regards to recording and reproducing techniques. Nevertheless, in all of these systems the audience is surrounded by the reproduced sounds. In these systems, the audience is located at the center of an imaginary sphere and audio objects are located with coordinates (x, y, z) with regard to the center of the sphere. The difference in reproducing three-dimensional sound lies in how to cover this imaginary sphere. The most popular 3D technique is the binaural technique and one of pseudo-3D techniques is the surround technique. In this paper, we first introduce the properties of binaural and surround systems and then will discuss their transformation techniques using an example. The binaural system is a system based on using headphones which has some distinguishable properties including a very realistic sound image and using only two channels to reproduce 3D sound images. But this system has some troubles; first, distinguishing between the front and the back of the audience due to front-back confusion; and secondly, it is not compatible with other audio reproducing systems. In the surround system on the other hand, which is based on using speakers, the sound image would not be reproduced with as much details as in the binaural system, but it is compatible with lower order systems. Knowing the methods of converting the binaural mise-en-scène to the surround mise-en-scène and vice versa, makes way for audience-centered 3D drama regardless of the reproducing system. The sound image in the binaural system is an imaginary sphere with the audience at its center and surrounding them, while in the surround system it is a cross section of such a sphere. The mise-en-scène in the binaural system consists of a spiral based on zooming movements in the right and left ear of the audience and spiral movements in a particular point around him. It gives its place to a surrounding mise-en-scène where the exact location of the image shaping is not clear. Furthermore, in the surround system the role of height is ignored. In the binaural system, reproducing radio drama does not depend on the system in which it is reproduced, while in the surround system, it can cause the perspective to lose its realism due to the changes in the spatial scales of the place where is being reproduced. Overall, due to the mentioned differences between these two systems, first the role of height should be removed in converting the mise-en-scène from binaural to surround. The conversion would be a little more difficult should the height have a dramatic role in the drama. In such cases, imagining the correct height should be left to the audience imagination, or the story should not be considered for a radio drama in the first place. In addition, the mise-en-scène should be moved from the points near the audience to some points more far away from them and exact mise-en-scènes should be replaced with mise-en-scène regions. Studying such technical changes leads us to studying aesthetic changes

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.

In spite of many studies have been conducted on Asghar Farhadi’s works, there is still no reliable study in terms of psychoanalytic. The purpose of this research is to identify one of three rings of Jacques Lacan’s Borromean Knot (The real) in Farhadi’s movies based on contemporary Slavoj Žižek’s psychoanalytic ideas. The Borromean Knot is a group of three rings which are linked in such a way that if any one of them is cut, all three become separated. Lacan used the Borromean Knot as a way of illustrating the interdependence of three orders of the real, the symbolic and the imaginary. Unlike our conventional conception of objective/collective experience, in Lacanian psychoanalytic theory, the real is something which resists representation. It is pre-mirror, pre-imaginary, presymbolic and cannot be symbolized through language. In other word, language cannot be considered as a means of illustrating it. In fact, man experiences this difficulty during his life and touches the horrible side of the Real through those points where symbolization fails, for example through trauma and aversion. Lacan also used the term ‘little object a’ (objet petit a) to refer to what is inaccessible in the object of desire and he replaced the familiar subjectobject dichotomy from epistemology with a new dichotomy that expresses the relation between the ‘barred’ or ‘split’ subject and the objet petit a, as the enigmatic, ‘real’ element in the object of desire. Slavoj Žižek explained this psychoanalytic term in relation to Alfred Hitchcock’s MacGuffin. In this paper, “The real” in Farhadi’s movies has been analyzed through descriptive–analytic method. “About Elli” (2009), “Separation” (2011), and “The Past” (2013) are the movies which have been selected to analyze in this paper. We focused on the real in Farhadi’s movies in the forms of the absence of champion, interference of fantasies and cynicism. In psychoanalytic studies, cynicism manifests itself as a general or specific attitude, characterized by frustration, hopelessness and disillusionment. We have analyzed three mentioned movies as three separated but interrelated works, or in other words as a trilogy and the results shows that many factors in these three movies, for instance, sharing characters’ fault, represent characters as victim, and diminishing the active contribution of Spectator from “About Elly” to “The Past”, bold the painful and inevitable aspect of the real and hide its horrible side.

The aim of the present study is an analysis of the socio-political currents affecting the formation of "Kurdish Cinema" in the Reform era. For this purpose, the present authors, based on their proposed model, that is a local version of the theories of Smith, Lovell, and Huaco in the emergence of new waves in cinema, investigate the development of "film in Kurdish language" in the context of intellectual cinema of Iran. Finally, based on Bourdieu's theoretical concepts, the most distinctive elements of this stream from the intellectual cinema of Iran and the creation of a regional field under the title of "Kurdish Cinema" are studied. This study shows that in the first half of the nineties, with providing structurally appropriate conditions for the formation of recent cinematic movements, at first, ethnic cinema in Iran, and then, film movement in Kurdish language were formed which later the filmmakers, while maintaining commonality with the Iranian cinema, through highlighting the characteristics of this new genre in their films and also through inclining to co-produce film with the autonomous region in Iraqi Kurdistan, Europe and being in line with similar movements in Turkey, could distinguish themselves from it and create necessary capital to create a regional Kurdish cinema.

Every form of media needs its own special way of creating ideas which leads to the formation of concepts. Radio drama¡ in writing or performing¡ is not an exception and in its ideal form should only be understandable via audio media. Based on the same logic¡ it can be assumed that changes imposed by being three-dimensional in a radio drama¡ would cause them to have their own way of creating ideas and styles of writing. In this paper¡ by using imagination¡ the general theory and studying different technical systems of radio broadcasting such as Mono¡ Stereo and high order systems¡ we determine this special style of writing¡ called the Silent Character style. In this style¡ the point of listening )POL( of the main character is positioned in the audience's location which is the center. The main character does not speak through the play due to dramatic and technical reasons and his/her situation are explained by other characters. The mise-en-scène in three-dimensional dramas that use this style is helical for three-dimensional systems based on headphones )binaural(¡ and rotational for systems based on speakers. But these kind of dramas do not differ from mono and stereo dramas in the way of creating ideas¡ however there are certain themes that are more suitable for them¡ such as interrogation and plays with psychological themes based on mental diseases.

Directing the actor means to create a character via interaction between actor and director and to present it as believable to the audience and it's done by two common methods. First from inside to outside and second from outside to inside. The focus of most directors and acting teachers are the inside and outside life of the character with his/her whole paradoxes and inherent contrasts and the means to show these characteristics that actors are trained for it. All the actor training theories of the past hundred years are inspired by Stanislavsky's theories which are known as system. When system entered America it became an inspiration for Lee Strasberg, Stella Adler and Sanford Meisener, which consequently led to Method acting and made it the bible for teaching actors. In 50's and 70's these theoreticians claimed that they took their idea from Constantin Stanislavsky's system and that each has used different aspects of Constantin Stanislavsky's theory to show their own approach. This study shows similarities, differences and emphasizing points of these three theoreticians in the exercise of directing the actor from inside to outside and from outside to inside by contrastive analysis. The results show similarities in elements such as acceptable action, assumed conditions of the play, emphasis on actor's believable behavior and improvising on stimulus-response and the most important difference are the arguments about actor's originality and character's originality.

Since the enlightening era, theater has served as a setting for reemergence and representation of philosophical notions. A historical interchangeability between philosophy and myths apparently motivated theater in the post-enlightening era to start to reflect myths and traditions in its dramatic structure one way or another. The present article aims to examine the technical replicability of classic works in modern theater following the critical views of Walter Benjamin. It also aims to be a review of the philosopher’s views. Though Benjamin never directly debates theater, his views cover so extensive an area in art that one can trace and redefine the 20th century’s theater based on his literature and thoughts. Benjamin not only seeks to reveal the debilitative aspects of the modern instrumentalist rationalism but also aims to criticize the dark side of the modern time as a modern subject. In this sense, modern author as knowing subject takes modern works as object of knowledge and seeks to review or replicate the works as dialectic matters between traditional sense and its modern sense in a way that modern human could realize it in a replicated sense. The main aim of the study is to bridge a given gap between a work of art and its audience. The aim may help establish a bond between traditional and sectarian values of art and eventually imbue the field of art with value of life, a value that Benjamin considers as inevitable for modern human to embrace.