سپهر سلیمی

Kant considers pure aesthetic judgment to be disinterested and in the minute of quality and interest is a pleasure (delight) that results from the representation of the existence. In a footnote (§3), Kant declares that beauty is neither based on an interest nor establishes an interest. In explaining the concept of interest, Kant acts negatively and only by distinguishing between the agreeable and the good, depicting the disinterestedness of an aesthetic experience. In the first critique, Kant does not consider existence to be a real predicate; therefore, it is necessary to refer to his other works to find the clear and correct meaning of interest. By referring to moral works, we realize that interest is a kind of inclination towards something based on a rational rule. In this article, an attempt has been made to provide a clear concept of interest by considering the whole of Kant's aesthetic thought, to deal with the connection of interest with existence, and to answer the question of how interest is connected with the representation of existence.

Schelling's goal is to find a total consciousness for human; therefore, in the philosophy of nature, he tries to reach from the real to the ideal. On the other hand, the conscious spirit is a product of human subjectivity, so, an unconscious spirit manages things. Therefore, Schelling's transition from natural philosophy to the system of transcendental idealism occurs. Reaching this level of consciousness is possible when [I] goes through different stages. The first stage is sensation, then reflection and after that comes praxis. But since the will of the subject of and the will of nature are the same, and ethics is in the realm of practical reason, then the subject of action does not have free will. Therefore, there is a gap between theoretical philosophy and practical philosophy that Schelling must somehow fill. He solves this problem with the free and creative will of an artist, a will that acts not out of necessity but freely. Schelling reaches the absolute from the identity of natural philosophy and transcendental idealism. The absolute is the result of identity of the real and the ideal. It is crystal clear that expounding how to objectify the absolute leads to a better comprehension of Schelling's philosophical system. In this article, it is investigated that among theoretical wisdom, practical wisdom and art, which one Schelling deems the most functional mechanism to objectify the absolute, and what are the roles of genius and the beauty through this path.

The goal of this research is a comparative study of the thoughts of Shahid Motahari and those of Ingmar Bergman (the notable Swedish filmmaker) considering his movies. Shahid Motahari has dealt with topics like ethics, beauty, sublime art and poor (non-sublime) art, philosophy of cinema, woman in cinema, crises of the modern world, death, etc. under ethical cinema. With the conduction of a comprehensive study of the transcendental cinema of Bergman and studying his sayings in both written and unwritten resources, we achieve striking similarities between the viewpoints and the artistic-philosophical worlds of the two, the comparative-descriptive study of which will open a new window to better understand the religious and transcendental concepts. The philosophy of resurrection and survival, death and the belief in the hereafter, theology, and the element of “faith” are among the themes extracted from Bergman’s works.

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.