جستجوی مقالات مرتبط با کلیدواژه « theater » در نشریات گروه « ادبیات و زبان ها »

Theatrical performances, such as lamentation have always been part of Iranian society and have a long history. However, theater as a cultural and modern phenomenon was introduced to Iranian society in the late Qajar period. In theater, the content of the show, the performance or acting style, and the language used to convey concepts are three crucial elements. Historical studies and translation studies have so far addressed various aspects of theater translation. Nevertheless, the role of language and translation in theater in Mashhad, especially from the Constitutional Revolution to the Islamic Revolution, has been virtually ignored. This paper aims to examine the language and translation as two main elements of theater in Mashhad and analyzes what changes Mashhad’s theater experienced from the first performances in the late Qajar period to the Islamic Revolution. In doing so, drawing on a library method, primary sources, including all Mashhad newspapers from the Constitutional period to the Islamic Revolution, such as Aftab-e-Shargh, Azadi, Bahar, Chaman, Khorasan, Seda-ye Khorasan, Nava-ye Khorasan, etc., were investigated and all the themes related to the theater were extracted. Then, using research and secondary sources, the results related to language and translation were presented in a descriptive-analytical manner. Findings suggest that the early forms of theaters in Mashhad were performed in Turkish. Then Turkish translation was replaced by theaters in Persian. In the first Pahlavi era, the translation of Russian works flourished in Iran, and the translation of prominent Turkish, English, and French works was also added to this trend since 1951. During this period, the quality of translation significantly declined as adaptation or free translation became the norm in play translation. In the 1960s, with the emergence of new theater groups in Mashhad, Persian became the dominant language of this art in Mashhad.

In the introduction and description of the 29th Yasn of Avesta, which is one of the most significant and complicated sections of Gāhān, some of Avesta experts indicated that it would appear to have characteristics of a play. However, there are not any consequentially considerable or noteworthy research, nor justification nor any rationalization to this claim. In this article the writer describes various definitions of a play in general and the history of play in Iran with refer to the subject. She would systematically explore the subject, the title, its style of writing and the story telling through the dialogues spoken by the characters of the story. The writer tries to identify the distinctive characteristic features on the basis of a variety of different plays and by exploring and thoroughly studying some of the Old Persian books and texts. According to the theme of this text, the 29th Yasn of Avesta is reckoned a kind of Taziye which probably performed in the ancient era. Originally Taziye is a kind of play with roots in the ancient Persia's customs, myths and ritual performances. In this research the writer tries to find out some similarities between Iranian Taziye and the 29th Yasn of Avesta.

The classic Persian literature enjoys plenty of story enrichment. In some authors’ works, these prose and poetry texts provide beyond the pure storytelling, somehow dramatic tale. However, with regard to lack of play in early centuries of Persian poems in Iran, the works do not hare play from appearance and are written only for reading. After the arrival of play from the West to Iran in the late century, play writers referred less to old literature treasure. While the reading of these works from the perspective of the play demonstrates their capacity for theatrical adaptations. Among the works of poets, Shahnameh Ferdousi and Nezami Middle poetry, and among prose books, Beyhaghi’s History are the best samples for evaluating the mentioned dramatic works. We attempt in this paper that after describing dramatic theater elements (Aristotle) and epic theater, pay to adjust their measurements with Beyhaghi’s dramatic stories and offer play (dramatic) capacity for the works.

The Bird symbol has a special place in the literature of various nations. This symbol is also manifested in the mirror of contemporary Arabic literature. Arab poets and writers use symbol as a means of criticize of disorganized situations of society for various reasons.This paper aims to explain the symbol concept and the factors that lead the works of contemporary literature to be symbolic, and decodes the one of Muhammad al Maghut by using descriptive analyses method. "Humpbacked Bird" ; as the name implies; is purely symbolic work that involves the political, social and cultural themes. One of the most important symbols that used in this drama , is sparrow, which is more frequent than other symbols. This symbol is present from beginning to end of drama and often it has different meanings and sometimes opposite cases and the end , overcome the positive means of bird to negative means of that. That is one of important results of this research.

History is an important material for writer Adding to his themes and his characters and worlds of text, The play as a genre have to do with history and glue, So the author sees in the events of history or his characters similar events or personalities contemporary Tries to connect between history and the present in his play And to express them through the past about some contemporary issues, This is what we call semantic employment history. Of plays that hired her history as a key play «Tamerlane landing» for theatrical Syrian Abdulfattah Qalaji, The writer presents the trial of Tamerlane in the other world And reveals the crimes committed by the tyrant. The present study looking for aspects of this confluence of theatrical history, Ftertkn the elements to demonstrate the similarities and the difference between the play and the historical origin, And in the end got to Qalaji inspired by personal Tamerlane And reflected their historical equivalents corresponding to any current government Succeeded in contemporary Spra fathom

The western symbolism that characterized in France at the late nineteenth century invaded the Arabic modern literature and had great effect on development of its forms and genres especially on the theater. Actors arose in Arab world take principles of symbolism in their productions among them Ali Oqla Orsan who is truly master of writing، presenting and criticism of theater in Syria. His symbolic theaters include “al-Sheikh wa al-Tariq”، “Zowar al-Lail” and “Tahawolat Azef al-Nai”. In this research we try to analyze symbolic aspects of “Zowar al-Lail”. This theater tells us about psychological conflict that suffers Ahmad، hero of theater، and drags him to suicide for he was committed bad works to his beloved (Hend). She loved him and trusted in him but he leaved her alone before her achy fate. From this viewpoint we extracted the symbols and analyzed modality of its inspiration from its title and thought and then its characters، time and place. At the end and by reliance on technical method we conclude that Orsan in this theater and in its semantic employment، try to talk about human psychological conflict that arises with his sins during his life.

There are two theories for the presence and absence of theatre and drama in classical Arabic literature. The former theory which believes in the presence of theatre in classical Arabic literature assumes that the Arabs knew various types of recreation and entertainment in the past eras. Its proponents provide various reasons for proving their claims, such as the existence of a market, the existence of the condolence ceremonies, and the existence of some folklore skills like puppetry, etc Conversely, the latter theory whose proponents deny the presence of drama with its known elements in classical literature expresses reasons, such as nomadic life with Arab journies, the non-cooperation of women in the plays, and in the correct translation of Greek works on the subject of drama, etc. …, for proving their claims. These critics believe that drama is the result of the new Movement. The plays that have been written in the modern era follow a two-way trend – the national and the patriotrical. These play wrights have treated subjects such as history, society, the Palestian Issue, and the Arab liberation Revolutions in the light of these trends.

Pioneer dramatists faced problems in the Orient during the nineteenth century with regard to theater function in the Levant, Iran and Ottoman Turkey; emphasizing the need for a theater in their countries. They did not only regard theater as entertainment, but also considered it beyond entertainment, which has other functions.Pioneer dramatists in the Levant believe in the benefits of the art of theater and wrote articles about it and its benefits for society. They considered it to be one of the best literary and artistic genres. Theater offers great services to the country's progress and transcendent entertaining. In their view, the theater can contribute to refining complexions and repair souls and enlighten minds and fight tunnel vision. Theater is blessed as massage to communities.Albeit theater is considered entertainment art, but supporters believe that it is one of the best means of entertainment and leisure where it benefits society, makes the public more stylish and develops social morality as well as entertainment dimension to him. Therefore they defended the theater as a good art for people and should be stuck to.