جستجوی مقالات مرتبط با کلیدواژه « تئاتر » در نشریات گروه « علوم اجتماعی »

Although animation is considered to be less expressive than other art forms, its aesthetic and mimetic dimensions have not been adequately explored in comparison to live-action film and theater. This research aims to investigate the relationship between animation, theater, and live-action film within the framework of Aristotelian and Avicennian mimesis theory to provide a limited explanation of animation.

This study employs a "philosophical analysis" approach to examine the various dimensions of animation and extract its components. By using "qualitative directed content analysis," the study analyzes and examines quotes and texts from Aristotle and Avicenna to explore the different aspects of animation. Additionally, through "new hermeneutics" or the science of text interpretation, the thoughts of Aristotle and Avicenna are extracted and applied to the analysis of the various dimensions of animation.

By comparing and relating theater and live-action film, the relationship between animation and theater becomes apparent. Subsequently, the evaluation of the relationship between animation and live-action film sheds light on the differences between them and the potential mimetic interactions they can have. From this perspective, the structural truth of animation is expressed in a limited mimetic aspect, according to the views of Aristotle and Avicenna, in three probabilities.

This research demonstrates that mimetic theory has valuable capacities in the realm of arts in general and animation in particular. The hidden aesthetic dimensions of animation in the non-animated realm have become clear, and to some extent, the relationship between animation and live-action film and theater has been identified.

Production and broadcasting of Television theaters has been ceased for several years. The present study aims at inspecting the characteristics of documentary theater for designing Television Theater. Using the properties of documentary theater in television theater, in this article, we achieve a novel combination that is used in various ways in some television channels around the world. Due to their unique characteristics, documentary theater and television theater can remove their own defects and shortcomings in the form of Television Documentary Theater. Using documentary theater and documentary topics in television brings together theater the theater-lovers, and the folk who are highly influenced by television. The research has been conducted using mental data, and collecting information from various library and visual sources, and combining them with semantic analysis. In “findings of the study”, it is specified that in order to produce a documentary television theater, we need to know the properties of television theater and documentary theater. Furthermore, interviews with people and witnesses of the incident, collecting documents; real images and sounds, and stressing the clarification of unknown aspects of each incident are among the most important sections of television documentary theater. Based on the findings, the combination of television documentary theater reflects reality through television creativities and facilities and plays a considerable role in attracting, educating and informing the audience.

Speech in the theater is the most essential part of the dramatic context, because the word is the main ability of the dramatic character for internal and external expressions. The launch of any dramatic flow is done by the formation of the story by the dramatic characters; A thing that can only be realized by the speech of the same characters. Even other expressive elements such as mimicry or physics that promote a kind of dramatic expression are a function of the verbal communication of the characters. The findings of this descriptive and analytical research based on library documents show that the native language in the local theater is not only one of the most important elements of the drama, but it is also considered the most important factor due to the theater's verbal base. Since the audience of the native theater often needs to understand words to communicate and understand and interpret it, having a native language can be of great help in understanding and analyzing the theatrical work. Local theater contains a message in an overt or encrypted form - of course, in the envelope of the subject and with a special story - which is sent by the writing and performing group to the recipient of the message, the audience. In this connection, language as the most important element has a functional role. The researcher believes that the people of a region can easily establish a close relationship with the theatrical works in their own color and canvas that use the index of the native language, and in addition to the visual and auditory pleasure, from the angles of the hidden and hidden verbal games. benefit and complete the process of theatrical discourse so that the message is fully presented to the audience through the native language.

The last decade of the previous century was coinciding with the digital revolution and the start of debates about the two-way relationship between the performance arts and the media arts. Following the emergence of performance, artistic productions became popular outside the theater; on the other hand, the specialization of theater genre was abandoned and, on the other hand, the distinctive feature of this art, namely, its liveness and performing influences had influenced in other arts. This article is intended to examine the two-way relationship between the performance and reproductive arts through the analysis and study of the works of the Italian group Studio Azzurro which can create their works through researching new media based on an interdisciplinary approach to (theater, cinema, video, television productions, installation) with the idea of homogenizing electronic images with performing environment, creating dual scenes, and training the audience to participate in production. What is the relationship between non-viable performing arts and reproducible media arts and how are the liveness of performing arts and non-liveness of media can be integrated and in what structure? This research is a descriptive-analytical one and has been conducted with gathering documentary data and direct observation and in direct observation, performances, films, interviews and lectures are cited. This study show that in the two-way relationship of theater-cinema, television and video, theater goes beyond the scenic restrictions of its genre to reinvent and revive itself and the media arts as they enter the live theater scene, they also become live and non-reproducible.

This article aims to study the audience of the theater and the factors that affecting on the choice of drama in them, which is carried out by survey method. The study population includes all people who bought tickets from "Mashhad Gisheh" site in the second six months of 1397 and some of the audience who have taken tickets in person. Sampling of this research was done in a simple random sampling method among respondents. The sample size was calculated using the Cochran formula of 369 people, but in the end, 375 people were analyzed as the final sample. Findings from the Pearson test indicate that between the choice of the drama with the actor (0.359), the subject matter and the genre (0.342), advertising including publicity (film posters, etc.) and word-of-mouth (0.155) and the director (0.411) have a positive and significant relationship. There is a significant and a negative relationship between watching a trailer and choice of the drama (-0.131). Also, there is no correlation between reading critique of theatre and choosing a drama (significance is 0.063 and correlation is 0.093) . Also, in the multiple regression test, the adjusted coefficient of determination was 0.357% that indicates independent variables have a significant effect on the choice variable (35.7%) in which the actor variable with the adjusted beta coefficient (0.331) has the highest share.

In the present research, we have neither been pursuing to have apathological study of the audience crises not to search for approaches toabsorb audiences in theater but through an anthropological attitude andusing the components of this field , it has tried to put forth interlinkedquestions to gain a relative understanding of the people who form theaudience population of the theater at present time, those who refer to the"Theater Shahr" (City Theater) and "TalarVahdat" (Unity Hall) as the twomain poles of theater nationwide. On this basis, 70 people have beenchosen randomly out of the audiences with regard to their age and genderand have been interviewed with each of them for about 40 to 50 minutes.The research methodology was qualitative and the instrument was thesemi-structured interview. After summing up the interviews andclassifying the motifs, the data were interpreted. The results show that,the most of the audiences see theater merely for filling their leisure timerather than cultural demands. If they were not restricted economically,then they would have preferred trip or other recreations. The intervieweescited a total of ten reasons for going to the theater, the most important ofwhich was "purely for leisure". Theater audiences have similar tastes andconsequently the same cultural preferences. Over 40% of the concernedstatistical population have a high rate of objectified cultural capital andsuffer from poverty in the embodied cultural capital. Despite to thementality ruling over the atmosphere of the theater, more than 60% of theaudiences are comprised of the graduates or students of fields of studyapart from art.

This essay will attempt to analyze and interpret the form and content determined by the structure of the book “Acting the part: Photography as Theatre,” (translated to Farsi in 2014). It is a descriptive-analytic study and by referring to four chapters of the book it will try to deal with origin, effectiveness, benefits and shortcomings of the book. In the course of analysis and research it reveals that the book was published on the occasion of a photo exhibition in Canada, and each of four chapters of the book has a specific aspect to theatrical photography. Few occasions such as the triple roles of actor, narrator, and artist for the sake of the photographer; the photographer as a storyteller; explanation of alive photography and examples of well-known photos in social documentary scope can be considered as book’s innovations. However, aggregation of diverse opinions expressed in the mold of a book is not homogeneous; and it ends without any final conclusion. The book acts successful in case-thematic study for stylistic and historical aspects of theatrical photography (Staged Photography), but cannot entirely represent all historical and stylistic aspects of this field of photography. Translation, editing, printing quality and layout of the book is desirable. In the absence of adequate resources in Farsi, this book is useful for enthusiasts and students of photography.

The purpose of writing this essay is the content critique and the form of the book of drama and the semiotics of theater and drama, the book of semiotics of theater and drama, is one of the most important books of theater and drama analysis. This book focuses on theoretical and methodological theories in the context of Structuralism semantic attitudes, and in this regard, the author sought to conceive concepts that somehow can be regarded as the main concepts and underlying themes of theater analysis. An analytical and applied methodology is presented to audiences who are interested in familiarizing themselves with the dynamic world of theater or seeking semantic methods for analyzing the theater. The main issue of this paper is the question of how the semiotics can analyze and interpret the theater and reveal to it the angles of understanding and comprehending the complexities of the world of theater and drama. The necessity and importance of a critical look at the book of semiotics of theater is for the more precise analysis, as well as the explanation of the mechanisms and functionalities of semiotic science in the analysis of dramatic texts. For this reason, showing the importance of the book of theater and drama semiotics is essential by revealing its analytical functions to guide the audiences and students who are concerned with theater semiotic analysis.

Light and Stage lighting have a significant role on the Persuading and attraction of Spectators. The purpose of this research is to identify the role of stage lighting on persuading theater spectators. In this research, qualitative methods were used to collect data while using a surveying method utilizing researcher-designed questionnaire for Statistical population. The questionnaires included questions with a choice of five answers according to Likert Scale from strongly disagree to strongly agree which has acquired Cronbach's alpha high correlation/ association coefficients. Questionnaires were distributed among 300 experts and masters in the field of light and lighting in theater and cinema using Snowball sampling in 1396. To analyze the obtained data, statistical methods such as Frequeny Table, Frequeny Percent, valid percent, Central tendency, Variability, Ordinal Variables test, Pearson correlation coefficient and Regression analysis with SPSS software were used. The results of model analysis indicated that in addition to completing and overlapping other parameters, with effects far beyond them, stage lighting transmits the message through light. It was also found that stage lighting could create persuasions in the context of excitement and the framework of psychology and perception of the Spectators. The use of Light Path in stage lighting, increases the amount of attention, perception, improvement and reception of the theater messages in the minds and beliefs of the Spectators.

Theater is an art that can be seen and felt. It involves almost all the senses of the audience and engages their minds and imagination to the full. That’s why the role of the audience defies definition. This article addresses the ways the audience can be attracted to theatre halls in Bandar Abbas county. The study makes use of the technique of multiple criteria decision-making. The researchers have used field studies to find the most significant ways to attract the audience to watch theater. They have then devised a questionnaire. Using the TOPSIS technique and Pareto’s Law the researchers have analyzed the findings. The following are the most significant ways to attract the audience to theatre halls in Bandar Abbas: Establishing connecting and advertizing channels (websites, sms, virtual channels); developing a structured and defined relation with the education ministry to extend theatres to schools; increasing theatre halls and working on their quality; face-to-face recommendation and visual advertizing (posters, tracts, banners etc) and employing top directors.

Introduction and problematic of research. The rationale of media audience research shifts the focus from text to context and thus incites doubt about media hegemony as well. At the same time, social media continues to perform hegemonic power in the recruitment of ‘radical groups’ which, through a kind of ‘nourished-by’ ego-delusion, denaturalize religion as well. What media offer or can offer to the recipient matters, and it also matters that research on audience reception should focus on how to get at the core of one of the main problems of our era wherein the responsibility is shared precisely by (those) media. This paper offers an instance of theater anthropology’s approach to the audience issue, justified by the inspection of its evolving routes that go almost in parallel with those of media audience studies, and wherein the issue of the impact of the theater performance on a spectator goes beyond the borders of the conceptual meaning of the ‘active spectator’. I argue that what media audience studies should bring from the state of absence to the state of presence is the person-centered element within its research to elucidate, promote, and encourage (both within that research and apropos productions) the very essence of human motives to act, also in response to media messages. This partially forgotten human essence is not the “surface” of the given motives, but it’s the ‘basic trust’ within each motive - as it was first described by Sufi masters and further developed in Carl Gustav Jung’s theory of the human psyche – namely, the trust flowing from human’s continuous tendency to integrate unconsciousness and consciousness. For the explication and engagement of this ‘basic trust’ as an innermost human motive to act, as well as its juxtaposition with non-rational human acts, media audience research would be preferable to include and develop the concept of media schemas and motives.
Theoretical framework. Amongst others, the paper’s theoretical framework includes Sonia Livingstone’s ‘prospect for media audience studies’ (1988), Gregory Bateson’s theses on the ‘fundamental analogies between different contexts and their relata’ (2000), Naomi Quinn’s ‘motivational force of self-understanding’ (1995), and several principles of Eugenio Barba’s theater anthropology (1990; 1991).
Methodology. The above-mentioned theoretical framework is taken as a ground to develop the hypothesis of this paper. Bateson’s theses frame the background of media schemas and motives as developed by the cultural schemas and human motives. Quinn’s hypothesis on the way cultural schemas become high-level goal schemas is further developed in a statement that constitutes the core hypothesis of this paper.
Findings and discussion. This paper argues that media schemas are an instance of ‘an experience’ (Victor Turner and Edward Burner, 1986), i.e. an ‘Erlebnis’ according to Dilthey, and as such they are complementary to the cultural schemas. Media schemas can have motivational force in the way that cultural schemas can have motivational force, due to the continuity between media models and cultural models as well as the compelling force of media schemas (and cultural schemas). What applies to the cultural schemas applies for media schemas as well. The person-centered analysis of media audience ought to take into account the complexity of schemas, amongst others the issue on how schemas come to act as goals for individuals. According to Naomi Quinn (1995), one important way cultural schemas become high-level goal schemas in an individual’s goal hierarchies is by supplying us with understanding of ourselves. I argue that a given cultural schema that supplies us with self-understanding becomes our high-level goal schema because it’s exactly that certain schema which is our own, individual, most adequate means to self-surpass ourselves so that our innermost innate yearning for the individuation process could be achieved, or at least be an object of an effort to be achieved. Self-understanding is a means, rather than a goal itself. Goals are linked to self-understanding for the sake of self-transforming. Due to the ‘high vitality’ of the media schemas, the motivational force of self-understanding for the purpose of self-transforming acts more compelling through media schema (and also through theater schema) than via cultural schema.
Conclusion. The trans-cultural highest-level goal of the audience (i.e. the urge towards ‘basic trust’) is conceptualized in terms of a moving force. ‘Media schemas and motives’ that make this component salient can make an attempt to shift media audience studies towards a position other than the current one, namely a situation wherein its likely accomplice-witnessing component vis-a-vis the engagement of social media in non-rational acts persists.
Prominent result. The ‘disappearing audience’ detected by the critical communications approach is likely a symptom of man’s urge to reach the affirming ‘empty space’ (the ‘shared space’) that stands beyond the ideological determinants and tends to integrate two extreme levels of our minds, rather than an undesirable effect of the conceptualizations of the media (con)texts as highly dependent on hegemonic power. Media hegemony is explicit not only within the key role of the social media in the recruitment of ‘radical groups’. It is reasonable to state that it is the responsibility of media audience studies as well to deal more intensively with this urgent problem whereby its resolution would imply not a stigmatization but, on the contrary, a contribution to expose, face and overcome (master) our circular (‘nourished-by’) ego-delusions. Qualitative research of media audience can intensify attempts to provide data for its quantitative research to expose the forgotten essence of the human psyche and man’s acts. However, if media audience studies neglect its competence in regard to this problem, than social media should either be excluded from what we call media or all media expect social media should offer a plausible argument for its new denomination. If all variants are disapproved, it results that the question to consider is the one regarding the length of the long-term consequences for media (audience) studies in neglecting our shared problems.

Theatrical presentation is accounted as one of the first artistic works of human being. its role and effect on the society and culture cannot be ignored. Different templates, forms and styles have been dealt with the theatrical presentation along with the cultural and social changes throughout the history. The satiric and comic theatrical presentation is accounted as one of the most prominent styles which has been more popular than other styles and it has been attracted many audiences. An important part of theatrical presentation׳s validity, especially the satiric ones, depends on audience attending; therefore the reasons and motives of audience attending will be the most important issue which should be considered. Accordingly, the research considers the audience of satiric theatrical presentation in theaters of Tehran through the qualitative perspective and tries to interpret and validate the reasons and motives of the audience attending through field data, interview with the audience, participant observation and use of theories. Finally, the reasons and motives of the audience attending explained in the following five main structures and components including accompanying the friends and relatives, entertainment, relaxation, being against the current culture and specialized utilizing.

The objective of this study is to design a pattern for factors influencing on the theater culture and determine its position in leisure time of inhabitants of Tehran with high and low income. 384 inhabitants of Tehran with an age mean of 28+/- 1 year completed a questionnaire with 80% validity. The nonparametric descriptive and inferential statistics (Chi-square) was used for analyzing findings of the research. The findings indicated that the people with higher income enjoy the more leisure time during the day rather than the people with lower income; also they may be more interested to go theater during their leisure time. Meantime, the price of theater ticket may not be considered as an influencing factor for its selection as an activity during leisure time. Finally, all people with higher and lower income stated factors such as time limitation, personal problems, ticket high price, financial problems and preferring cinema and TV rather than theater as their reasons for refusing to go to theater during their leisure time.

This article was aimed to evaluate the reasons for audience who participate in theater performances which was conducted with survey method. Measuring instrument was a questionnaire and it was contributed among 384 theater audiences in Shahr Theater, Vahdat Hall and the Artists’ House. The results of this study are as follows: Men are more likely to watch theater, and theater audiences are in the age range of 16 to 38 years. Singles go to theater more than married. The majority of theater audiences are educated and high social class. Theater audiences usually go without any special plans and with their friends. The sources for getting information about performances were internet and friends. Playwright, director, actors, genre drama, stage design and theater ticket prices were ordinal criteria for theater audiences. The five factors were determined as inviting reasons to theater: 1. live environment. 2. Honesty and lack of censorship in the theater. 3. Unique features. 4. Special effects. 5. Motivation and audiences’ need.

The aim of this paper is to determine the different types of theatrical policies applied by the states of Iran within the years 198 9(the start of the first presidency of Akbar Hashemi Rafsanjan) to 2009 (the end of the first presidency of Mahmoud Ahmadi Nejad). The method of this research is content analysis. The cabinet approvals within these years which either in their titles or in their texts, the words theatre, performance, performing and performing arts are appeared, were identified. Totally 22 approvals were found. A content analysis checklist was made based on the Chartrand and McCaughey model which has classified the arts policies in four roles: facilitator, patron, architect and engineer. These four roles are designed for indicating the degree of the state intervention in art and cultural domain and each of them are identified by some indicators. To promote and localize the model by using the literature of the arts and cultural policies, the indicators of funding mechanism, tool, policy dynamic and goal were defined for each role. Totally 99 indicators of all types were found in the 22 approvals. The findings revealed that in the investigated twenty-year process, the state has used all types of arts policies in theatre: architect (35.36%), patron (31.31%), engineer (18.18%) and facilitator (15.15%). Various states in four years intervals, have been different in their using the types of arts policies. The tool indicator (40.4%) and goal indicator (34.35%) have had a higher frequency than the funding mechanism indicator (22.22%) and the policy dynamic indicator (3.03%) has had the lowest frequency. The arts policies indicators used by the states in theatre approvals has been in this order (from the high frequency to the low frequency): 1-the architect goal (social welfare and national culture), 2-the patron tool (awards, grants, prizes), 3-the architect funding mechanism (department and ministry of culture) and the engineer tool (official justification and endorsement, recipe, control), 4-the facilitator tool (tax expenditures and incentives), 5-the patron goal (aesthetic, professional and International standards), 6-the patron funding mechanism (arts councils), 7-the architect tool (welfare for artists such as insurance, official employment, income security for the artists), 8-the engineer funding mechanism (state and government ownership of artistic means of production), the patron policy dynamic (evolutionary) and the engineer goal (political education and ideological propaganda), 9-the facilitator funding mechanism (private individual, corporate and organizations) and the facilitator goal (economic). The policy dynamic of three types of facilitator (taste changes), architect (revolutionary) and engineer (revisionary) has not been used by the states. In addition, different states have not been the same in the priority rating of using different types of arts policies and indicators.

In this essay we try to consider Brecht’s works to exploit and reproduce them in media as well as we try to make a logical connection between art concept and media capacity as well as delicacy, by making documentary his ideas and his works in theater and by considering them in social communications framework. We also try to emphasis on both media and art aspect; also using the capacity of art in media forms and vice versa, using media forms for content and form of elevated art have been considered; however there is a particular attention to special style of encoding and to review the role of audience. In this case Brecht himself has targeted mass media with regard to the entertainment and attraction in art and promotes them to awareness and praxis. In this paper we try to review instructions which are useful for people who work in media and art field.

Viewer is the main factor in theatre and theatre without viewers has no sense. In old days theatre was used to entertain families, to worship gods, to make people express their feelings, to transfer tradition and knowledge, to criticize abnormalities in the society, and to live a life. Since theatre turned into a profes¬sion, there should have been some spectators or government grants to help it survive. Theatre means performing a written text to inform people, to educate them, to increase their humanistic, religious, and national knowledge; and to lead the society toward peace and calmness. This study tries to introduce some ways to attract viewers to the hall theatres.