reza mahdizadeh

Theater is an experience of performance that its fields of representation and creativity have always been considered according to the cognitive, educational and training needs of children. Explaining the four stages in his cognitive-developmental theory, Jean Piaget deals with how the individual emerges from sensory-motor activities to excellent intuitive activities with social life, rational thought, and reasoning operations. One of the salient features of the second stage of development as a pre-operational period (2to 7years) is the evolution of representational forms and the acceleration of conceptualization with pre-logical or quasi-logical reasoning, which can be done by children’s theater, and taking advantage from each of the elements of the performance, including the theatrical perspective and presenting images appropriate to this stage. This article seeks to answer the fundamental question of how the perceptual principles and components influencing the design of a play in children’s theater performance can bring to attention and influence children’s perception of space and place, based on their basic mindsets and mindsets based on spatial experience. The present qualitative research, based on library resources and reputable websites, considers the perceptual aspects of the relationship between the audience and the play to explore the components affecting perception and visual communication and mental interaction in the children’s Theater scenography, examining the Walt Disney Company’s executive model, and provides an effective model for analyzing the plays of this age group, arguing that recognizing the perceptual powers and how the child mentally interacts with the phenomenon of place and its components in performance, will lead to the internalization of the subject, story and concepts and will be the basis for externalization and creativity.

Theatre and performance create a theatrical atmosphere by using and combining images and words. The theatrical atmosphere is perceived by audience’s imagination and changes to meaningful signals that convey the meaning of the play to them. Space dramaturgy is usually associated with composing, organizing, and processing; A solution that introduces the scenographer as one of the main pillars of shaping the performance for writing through the definition of space. Examining the concepts of the play, visualization, and putting these concepts in broader contexts with the language of image and space, forms the basis of a Scenographic dramaturg, whose the base of work is interpretation, deconstruction, creation and writing new worlds. The present study seeks to answer the main question of how to move from written text to production of unwritten text and performance text, relying on the hypothesis of the effectiveness of the idea of deconstruction theory on the formation of Scenographic dramaturgy in performance. Derrida ‘s studies require a careful consideration of the textual evidence and the logical contradiction that the flow of writing can interfere the interpreter’s attempt to get a united meaning and crystallize new concepts from the text itself by re - reading the dual contrasts, hidden layers within the text, intertextuality, the presence and absence, differentiation, playing with meanings and signs, links and textual breaks. The present research aims to improve the knowledge of designing in organizing the theatrical atmosphere by conducting an interdisciplinary study in order to get acquainted with the infrastructure of foundation - breaking to pass from the written text to the production of unwritten text and text of the performance space. The present dissertation is a qualitative research based on library resources and reputable Internet sites. Undoubtedly, in such studies, the interconnectedness of theory – practice structure, alongside each other can transform fixed patterns and forms, even of the past performances of classical plays.

Abstract “Metaphorical thinking” is a strategy which helps designers to understand unfamiliar esign problems and to adapt them to familiar conditions. This approach, which has been a prevalent one in recent years, is very effective to promote the stage designer’s thinking and creativity and developing a schema. This research is adjusted for the purpose of ssessing the functions of metaphor, focusing on stage design creativity. Overall, this paper is an applied research conducted by using descriptive and analytical methods. To conduct the theoretical bases of the research, while developing definite frameworks in defining metaphor related to the problem and solution context, the effect of metaphor on stage design is provided methodically and with classification and valuation of etaphors using case studies. The findings indicate that metaphorical stage design, by means of play analysis and design problems investigation, and creative search process, has a unique role in performance innovation and creativity.