فهرست مطالب mohammad hossein naserbakht

Aqle Sorkh treatise of Sheikh Shahab al-Din Yahya bin Habash bin Amirak Abul Fottuh Suhrvardi, nicknamed Sheikh Shahid, a famous philosopher of the 6th century A.H. and the founder of the Ishraq school of philosophy, both from the point of view of form, structure, and narrative logic, and from the Aristotelian point of view, contains dramatic elements and features It is a in its show. The value of the concepts, content and hidden meaning in this work can be a guide for performers and writers in the field of drama and theater due to the wisdom included in it by Sheikh Eshraq. This treatise, with its dramatic capacities, draws a journey that leads a person in pursuit of his individuality and in the direction of knowing the of his existence, towards a transcendent truth that was once shrouded in darkness and hidden away from his eyes. The existence of elements such as plot and conflict, character, dialogue, time and place of drama, crisis and chaos and disaster, etc., which are considered the basis of dramatic text from Aristotle’s point of view, can be deliberately and scientifically evaluated with the knowledge of the Eastern worldview hidden in Red Intellect. The following article, with a comparative approach and relying on the descriptive-analytical research method and using library sources, explains the dramatic aspects of the treatise Aqle Sorkh, of course, based on Aristotle’s opinions on the art of poetry. And It evaluates and evaluates this ancient literary tale, through a descriptive and comparative study, in order to analyze its representational capacities - which are sometimes only examined in the framework of ancient tales, - through a descriptive and comparative study. And In this way, by entering the realm of drama, present the work can be presented to the audience of ancient literature and dramatic literature.

Every writer has different ways to create a logical and, at the same time, attractive personality, yet the most influential factor in characterization is always the writer's daily life. Characters created by authors are often representations of people with whom the author has associated in daily life. Therefore, it is always possible to obtain useful information about the people of that time by recognizing the imaginary characters of writers at different times.This study, while examining characterization and its relationship with personality actions, took two plays “Sleep in an empty cup” and “Home” into consideration and analyzed their female characters. It also examined the influential factors in the characterization of women in Naghmeh Samini's plays, trying to find out how each of them reacted to the home (patriarchal system) according to their backgrounds and values. Finally, it was concluded that the values of women in contemporary society influenced the characterization formed in the plays, including the works of Naghmeh Samini.?

Considering that Shabihkhani is only Iranian traditional play which it has been performed since the beginning of its implementation based on written text. Investigating the features of its text from the monotheistic can provide meaningful gains for understanding the ancestors’ dramatic experiences. Meanwhile studying Shabihkhani in the meantime, study of Shabihkhani editions witnessing claims that the creators of this ritual play not only espouse Islamic thoughts and the influence of Iranian ethnic memory, but also the mythical thought and Iranian myths of other tribe myths that somehow inhabited the land, and also believed in Iranians and Muslims have been influenced by them. The Present article tries to answer the question with relying on mythological and documentation that: In the Shabihnameh narrative withers, how did Iranian myths and thoughts crystallized in description of prophet’s Daughter character? And finally, it concludes that: characterization of the Prophet’s Daughter in Tazieh brings the same position to the faithful audience that the water god, Anahita, has in ancient Iranian literature and beliefs and Hazrat Zahra (AS) in Tazieh has become manifestation of the ancient positive aspects of feminine models. By the way, as in Avesta, heroes and anti-heroes praise Anahita equally, this situation is repeated many times in Tazieh and even the opposition commanders respectfully refer to the Prophet’s Daughter and the Holy Lady’s. This article is based on a descriptive-analytical research, in which the information is obtained through library studies and taking notes.

According to the discourse atmosphere of the production of plays in each period, the characters of the play define, produce and specify their identity elements. Identities are formed based on social structures relying on collective memory and all epistemological sources and with considering the objective social structure, but not all elements of identity have the same status and importance. Some elements of identity always play a greater role in plays and other elements remain hidden. According to Lucien Goldman, the collective nature of literary creation is the consequence of this issue that the structure of works is shaped by the mental structures of social groups within society. As a result, the artist or writer is the product of society. The present article tries to analyze and compare the characterization of the two plays “The Golden Viper” and “Beneath the Saqqakhaneh Passage «, based on Lucien Goldman›s theory, and gives a more accurate picture of human in reacting to the prevailing social and economic conditions of modern times with different culture of Loties and Lumpens. The aim is to find out: After the beginning of theater in its western sense in Iran, how the differences and similarities of the presence of Lottie and Lumpen characters occur in these works? This study has been done with the method of qualitative research and the results indicate that although the two groups initially have a common origin that were the same as in the past. But in the continuation of the path, according to the socio-economic and political conditions, they have gone in two different ways. In the meanwhile the Loties who can be found till Qajar period, are analyzed and absorbed in the lumen groups. It seems that Nasiriyan in the characterization of the play «The Golden Viper» in which traces of mystical drama can be seen, have become more inclined to the Loties because of this mystical approach of his characters. In contrast, Akbar Radi, relying on a socialist view of the characters in the play «Beneath the Saqqakhaneh Passage «, provides a clear picture of the Lumpen architype, which reflects the social reality of this stratum in the contemporary era.

The present study, considering the need for the analytical study of the evolution of traditional Iranian plays, investigates the effects of social, political and cultural developments on the Iranian imitation ceremonies in the Pahlavi era, a period that has been less considered by scholars in this field, and seeks an answer to this question: What are the influences of the prevailing social and political conditions and cultural developments of this period on the stories and the way of performing the imitation ceremonies? So for this reason; Sociological analysis of documents, especially recorded texts, left over from joyous ceremonies in its various forms, some of which were recorded in the Performing Arts Documentation Center in the Shahr Theater Library, some have been documented by previous researchers in this field, and some have been acquired from personal archives. This study, identifying and analyzing the changes and developments that have taken place in the stories and the way of performing various types of traditional joyous ceremonies in this period, in the end concludes that: During this period, traditional joyous performances experienced their short peak time along with the demands of that time and then declined and even some of its genres - such as Siah bazi - at times have been considered as a serious competitor to the imported theaters in Europeanstyle theaters. Accordingly, based on the conditions and suggestions of the time, the interested topics and situations of the audience and social orders, and sometimes with the support of the government, in choosing stories to perform in homes and theaters and using comedy tricks and techniques, received changes and developments according to time and audiences’ demands and sometimes under the influence of imported theater. But despite the effort by those involved in joyous performances due to the tendency of the Pahlavi government and the desire of society to modernize and the loss of natural grounds for the growth and development of ceremonies, gradually began its decline and in the late Pahlavi era had a very bad situation. In addition, in this article, due to the researcher’s access to the documents which have paid less attention, some tricks and changes in stories and in texts of joyous plays are presented for the first time. It is hoped that the findings of this study will be effective in identifying the ambiguous history of Iranian joyous performances and will be used by play writers who are looking to revive and modernize these dramatic genres.

(Alexander fojcko, Mohammad Hasan Rajaei zofrei, Hasan Salehi Rad) Ta’zia means mourning and bereavement and helding a memorial session for dear dead one but expressively it refers to a sort of religious play with special traditional traditions. Usually in Tazie traditional play, there are different versions of a session disperses all over the country. The research writers examine ta’zia for Imam Hossein(peace upon him) in descriptional-analytical method and based on three versions of fojcko, Rajaei zofrei and Salehi Rad,It belongs to the fields and historical periods. With regard to the subject importance(Imam Hossein martyrdom and it’s reflection in most of simulation-reading versions) The three parliamentary committees examined the proposed methods in comparative studies, and eventually it was concluded to them that there were twenty-four common events in these versions, of which thirteen were in three versions and eleven in Two copies of the ta’zieh meetings take place. Similarly, 37 uncommon events can be mentioned that occur as dispersed and shows each version distinctively.

This article reviews the element of “violence” in two French plays; “Electre” (by Jean Giraudoux) and “Flies” (by Jean Paul Sartre), both of which are adopted from an ancient tragedy “Electre” and published about the Second World War. After two world wars in Europe, one of the issues that concern greatly the French dramatists was mythical subjects by the nature of violence which corresponded with critical and political attitudes of 20th century thinkers. At the time, ancient Greek mythology, and in particular the famous siege of Thebes and Trojan came to spotlight, in which the first city was demolished in dust and blood and the second one was fired. The story of “Electre”, which focuses on violence and revenge after the Trojan War, was the source of creation of many dramas which on one hand correspond with the escalation of violence by “Hitler” in World War II, and on the other hand contain many examples that could easily re flect a lot of intellectual and moral ideologies of the age. “Jean Giraudoux” and “Jean-Paul Sartre” are two of the French playwrights of twentieth century which used adaptation of these plays in the midst of and during the Second World War to offer their own thoughts. Jean Giraudoux in 1937 and Jean-Paul Sartre in 1943 released a new adaptation of “Electre” which discuss the conception of violence in deep. This article tries to compare these two plays structurally, and then it will follow by reviews on the conception of violence. On this research, at first, the researchers will have a quick look at the introduction of the story “Electre” in mythology and ancient Greek tragedies. Then two adaptations of Giraudoux and Sartre will be introduced and compared and finally the researchers will compare both plays from “nature of vio lence” perspective. It is worth noting this article is a comparative research and the research method is library research and descriptive. In this way, first of all the researchers briefly compare the structure of three remained tragedies from ancient Greece, then two adaptations of Giraudoux and Sartre will be compared in terms of form and content and finally reflection and nature of violence would be compared in both adaptations of these two French authors.

The present study was designed to investigate the ability to create a theater-style apartment with a view of Iranian views on the sociology of Iranian families provide a way for the entrepreneur and income from theater to theater and also how to use apartment dwellers, apartment for cultural development was To illustrate the descriptive - analytical technique was used. The research is a qualitative and practical. Important information research using library methods (taking notes) Athletics (dialogue with experts) were collected The most important findings and the results obtained are easy and accessible way to the theater flats towards entrepreneurship and revenue for the theater Moreover, the implementation of these theaters will have positive social impacts. The results show that the ways Iran can produce ideas and ways of solving their apartment theater

Iran and India, are the Asian countries have a lot in common.Top of Form Bottom of Form Rich culture and religious beliefs are the most common parts of these countries, but with many differences especially in the ritual and religious aspects.Bottom of Form It is obvious that created theaters on the foundation of these two cultures have the common elements but also they have many differences too. The main point emphasized in this article is the investigation on these two traditional theaters both Tazzie in Iran and Katakaly in India to find common elements in these two theaters and anal ysis of content and structural elements. In this way, the only way to collect data is used in library. This study that compares two views Katakaly of India and Tazzie of Iran according to the cultural convergence of context and Asian geographical situation of these two countries the dramatic elements are used symbolically. So the most common structural elements of these two are symbolic. In terms of content, these two have a common origin that all of them have root in East theaters generally and a view to human and nature, and environmental and social role in the community.