کاظم نظری

Narratives, story elements, and patterns are embedded in ancient capacities and concepts, that can be examined in the context of archetypal criticism. In the epoch of new criticism, archetypal criticism constitutes one of the principal methods of analyzing literary works, which Carl Gustav Jung is considered to be the founder of the subject of collective unconscious and archetypes. This essay examines the archetypal role of the father as one of the most recurrent roles in Akbar Radi's plays – the father of modern Iranian playwriting – that demonstrates the significance of the archetypal function of this role, both in the playwright’s individual unconscious and in the other circumstances such as the story and dramatic situations, actions, and reactions of the dramatic society, and key conflicts of the play. Given the position and proliferation of the father's voice in Akbar Radi's plays, several fundamental questions arises as to what roles and subjects this voice generate, what other archetypal concepts it activates, and in what motifs the role of the father is reproduced. Drawing on a qualitative method in The Descent, Blue Aperture, and Death in Autumn, it is plausible to examine the primary function, the dominant narrative, and the authority of the father’s prominent role compared to other roles, and in generating story spaces, dramatic elements, and dramatic conditions.

This research aims to investigate the method of adaptation in several children's and teenagers' plays which were written by adapting religious texts and published in the 80s and 90s. In this research, five plays were selected from prominent writers in the field of children and adolescents, which are: "Dawood's Song" by "Manochehar Akbarlou", "Animal Wrestling" by "Dawood Kianian", "Do Good and Be with God" by "Hasan Dolatabadi", "For Pearls" by "Hossein Fadaei Hossein" and "Saving the Deer" by "Amir Mashhadi Abbas".Then, by studying and explaining the adaptation theory of Linda Seger, we extracted a model from it to analayze a adapted text from a dramatic point of view, and then we tried to use it to analyze the selected plays in order to understand the strengths, shortcomings, inadequacies and gaps of selected playsThis research is practical in terms of purpose and the theoretical studies of this research have been collected in a library form through articles, books, magazines and reliable websites.Finally, with the conducted investigations, it can be concluded that in these five plays, which were among the prominent works of children and teenagers with the approach of adapting religious texts, the main weakness is in creating the story and advancing the axis of direction, and in most of them, the goal of the main character It is not dramatically strong and lacks tension, rising stakes, and a turning point.

This research is based on a theory of rhetoric about Tele-Play according to a kind of connection between production & performance spaces and the spaces in which the audience receives it. The goal of this article is to define the essence & structure of Tele-Play by noticing the skills & methods of communication for attaining a special expression which we can expect from this kind of program making. In authors opinion the Tele-Play as a medium which simultaneously takes advantage of potentials of theatre & the techniques of TV production, causes the formation of  a medium & of course a different art with a new expression . By dominance of this rhetoric on the languages of theatre & television we witness the forming of a special theory in the rhetoric arena of media called the rhetoric theory of tele-play; “Broadcast-Performance”. This research is descriptive-analysis and based on comparative method and library documentation, following the views of “Richard Shakner” and “Bela Balazs. The outcome of the research shows the theory of Shakner and the theory of Balazs; about Tele-Play is intermingled with three issues of Raw Material, Technique of Production & finally Live Broadcast.

The unity of plot is the most important principle in classical drama. In Poetics, Aristotle prefers action to character and equates the unity of plot with the unity of action. Modern theories however, eliminate such a decisive differentiation between the character and the action and consider them highly interconnected. Changing the central character and replacing him/her with another character violates yet another principle of classical drama, namely the unity of the central character. In the present study, the analysis of observational data is utilized in order to examine the setup of the films with central character replacement using the theories of Aristotle and other theoretician influenced by him. Through observing and analyzing these films, it is concluded that in order to maintain the unity of plot they employ mechanisms such as attendance of the alternative central character in the causal chain, maintaining the unity of action, emphasizing on an unaltered theme, using the capacities of epic. The effect of the change of the central character on the unity of plot is associated with the extent to which these mechanisms are used. The possibility of maintaining the unity of plot increases with the number of utilized mechanisms. Otherwise, the change and replacement of the central character results in a hybrid plot i.e. there would be two separate plots.