جستجوی مقالات مرتبط با کلیدواژه « تئاتر » در نشریات گروه « هنر و معماری »

Relying on comparative aesthetics this paper aims to show the perspective of two of the early theorists of cinema, in two separate writings of each of them, regarding the subject matter of medium specificity. One of these writings is Arnheim's "New Laocoon", which is final chapter of his book Film as Art and the other is the article "Style and Medium in Moving Pictures" the final version of which Panofsky published in the 1950s after several revisions. The focal question of this paper concerns the effect that  Lessing's Laocoon have had on Arnheim and Panofsky's approach to the discussion of media specificity to further see how each of these two thinkers reached different results by using the Laocoonian tradition of comparing arts. Arnheim's focus on the formal aspects of cinema as a modernist art leads him to consider silent cinema as the ultimate form of art cinema and to give importance to aspects that, ironically, are not so important in Panofsky's eyes. Due to his attention to the popular aspect of cinema, Panofsky focuses on the content and meaning instead of the formal features and therefore, despite Arnheim, while emphasizing the specificity of medium in cinema, tries to highlight other aspects of the cinema for his purpose. The final achievement of this paper would be to show the different results of two theoretical thoughts with a single concern about cinema. Both thinkers, while comparing cinema and theater in the framework of Lessing's thinking, reach contradictory conclusions. The approach of this research is comparative aesthetics and it is conducted in the framework of that ontology which governs the theories known as the theories of the classical period of cinema.

What makes a new ontology essential for today's theatre is the need for fundamental change in all aspects of this phenomenon. To respond to this need, side reforms do not help preserve theatre's status as a liberating art. This new ontology, addressed here as divergent theatre ontology, attempts to provide a new abstract intellectual framework for this issue before making any differences. To form such an ontology, mathematics can be used. In this method, mathematics can be used as an ideology framework. Considering that mathematical variables can be transferred from the field of symbology to the field of semantics, by turning into macro-theatre situations, each of the mathematical situations, allows the possibility to propose new hypotheses for theater by using mathematical theories.  This research aims to primarily present a specific form of an ontology of today's theatre as convergent theatre and to additionally express the new form using the mathematics of divergent theatre ontology and ultimately showing that any liberating aspect in theatre requires an infraction of the rules of convergent theatre and achieving some kind of divergence in theatre.

For a long time, Broadway Theatre in the US by adapting successful animations to musicals has opened a new path for theatre producers – especially in the field of commercial theatre. The vast eagerness of audiences for remarkable musicals such as The Lion King, Beauty and the Beast, Frozen, Madagascar, Shrek  throughout the world has encouraged important theatres to do the same as Broadway. This trend has been followed in some Asian countries – particularly Japan – as well, reviving interest in theatre, which after the emergence of television and cinema had lost part of its audience. This paper aims to offer an accurate picture of the process of adapting animation to stage theatre and attract the attention of theatre managers, producers, directors, and others in Iran to this significant process. The Lion King as the most successful animation and musical ever has been chosen as the case study to be analyzed in the present research. The director and artists of the Lion king musical performed all the elements on stage in an avant-garde fashion with full fidelity to the animation text and excited the audience to transform fantasy elements into reality. The result indicates that this kind of adaptation is now commonly used by famous theatres and has been able to bring a new generation of audience to theatres. This process of adaptation is not limited to the works for children and it is possible to objectify the fantasy atmosphere in the country’s successful animations with theatrical elements and produce successful artistic-industrial performances in the country like Lion king and attract all kinds of audiences to this new type of theater.

The goal of this research is to provide a model for theater audience consumption experience through a qualitative and practical approach with ethnographic methodology. The target community of this research includes all theater audiences in Tehran and sampling has been done with judgmental and snowball sampling methods. After carefully investigating literature and background of research 20 theater audiences were chosen who go to theater at least 5 times in a year. “The City Theater” and “Iranshahr Theater” complexes were selected as the research field because of their reputation and rich history. Participants watched nine performances during the time of research. Data has been gathered by Ethnographic data gathering methods including Narrative Inquiry, Participatory Observation and Deep Semi-structured Interviews. Consumption experience was analyzed in 3 stages: pre-consumption, core- consumption and post-consumption experiences and the whole experience as a conclusion. The analysis has been done with thematic analysis by NVivo.12 software. In coding phase, first 256 open codes were found. After code refinement 131 codes were left which were converted into three main abstract headings: affections, cognitions and behaviors. At a higher level of abstraction, these codes constituted the behavior of theater consumer regarding motivations for going to theater, factors affecting theater selection and pre, core and post experiences. The results show that “perceiving meaning” is the most influential motivation for going to theater, followed by theater’s closeness to daily life and a sense of belonging to theater audience’s community. The most important factor for selecting a performance is it’s the theater hall followed by friend’s recommendation. The model shows that going to theater is like a ritual which audiences respect in their theater consumotion journey. In each step, pre, core and post consumption experience, audience sees him/herself in a ceremonial event which has its own rules like wearing artistic clothes, selecting friends, going to café, etc. before the theater. At the core consumption stage, the ritual demands that audiances respect the performance by maintaining silence, interacting with other audiences and artists and in post-consumption stage the ritual continues by talking to others, and collecting brochures and photos to remember the event later on. Meantime, motivations and selection factors affect the theater consumption experience entirely. This model provides deep understanding of theater consumer behavior and helps theater organizations and marketing experts in optimizing theater consumption experiences.

In recent economic years, the category of "art economy" has a special and cultural place in studies that hold that economy and art can coexist and that art economy considers art with economic results. This research aimed to study the development of art economics (with an emphasis on performing arts) through a descriptive-analytical and library method. The findings show that, in today's highly competitive cultural world, arts can maintain and develop their survival, and have positive effects and are profitable, though they face many challenges. The most important challenges facing the economy of art were identified to be (a) fanatical idealistic view of art and artist in culture and society and architect from managing the economy in the field of art, (b) government intervention in the economy of art, (c) concern about the instrumentalist view of art, and (d) material valuation of works of art. Moreover, concerning the specific factors that affect the development of the economy of art, especially in the theater, the findings show that these factors have an effect on the economy of art including: Special attention to artistic products (primary material), attention to production costs, attention to the distribution and type of audience, attracting private investment, and attention to the presence of the government.

The meaning of the myth expresses different parts. In other words, symbols and signs have made beliefs and rituals believable among different ethnic groups in different eras. Mythical symbols appear in the form of stories, art, and culture in social life, and express psychological views in societyFor society. For Gilbert Doran, myth is a dynamic system of symbols, archetypes, and a system that seeks to stimulate narrative through archetypes and symbols by stimulating stimuli. Theater as an important medium; demonstrates the power of myth-making with tools such as the role and actions of actors, costumes, and makeup. In this research, King Lear Theater, performed at the National Theater in London in 2018, is analyzed with the mythological approach of the time. Inspired by the mythology of Gilbert Doran, this article examines and analyzes the character of Shakespeare’s King Lear. The purpose of choosing this play is due to the presence of a character named King Lear who has a special myth and archetype and how he communicates and interacts with those around him during the process of the play. The purpose of this study is to find the answer to the question; of what are the symbolic elements in the creation of the character of King Lear, and how can a significant relationship with the theme of the play be established through mythology? This study is a descriptive-analytical method, and library sources and also theatre performances are also used. The results show that through three stages of Gilbert Doran’s mythology, (symbolism, psychometrics, and mythology), symbolic, psychological, and mythological elements in the character of King Lear can be discovered, and this which creates a connection and with the audience. They become s more understanding with the character of the king. According to the three stages in the mythical critique of Gilbert Doran, in the symbolism section, the symbols and signs of clothing in King Lear’s character were analyzed as three symbols of power, fight, and madman, which are the three stages of King Lear’s personality in the play.

The purpose of this article “Searching for identity from Sartre’s point of view in the play The Buried Child” is to gain a new understanding of the characters and their world with an analytical look at Sam Shepard’s play based on Sartre’s philosophy. Among Sam Shepard’s plays, The Buried Child deals more with the issue of searching for identity. The conflict of characters, conflict and disagreement between family members and its effects on the society with a focus on the contemporary American man in this play are quite evident. The characters portrayed by Shepard in his plays are almost all chosen from the same gender. And in various works, the amount of their psychological problems and conflicts and physical diseases has increased or decreased. But in the play The Buried Child, we see that the characters are exposed to the audience completely alone and without creating a real relationship with each other and the society, naked and far from each other. For this reason, this article first looks at Sam Shepard’s theater and deals with the relationship between his works and the philosophy of existentialism. In the following, he presents the dramatic narration and analysis of the said work. Then, by examining the issue of searching for identity in the work, the impact of Sartre’s thought on the process of forming actions and the progress of Shepard’s drama is discussed. The main question of the article is, what role does the search for identity play in the creation of the mentioned work? According to this issue, the hypothesis of the influence of character in the design of dramas and its key role in the performance of this work is determined. The result of this research shows the impact of Sartre’s thought that man is condemned to freedom, as well as the moral principles of his philosophy, such as self-alienation and living in wrong intentions, in the characterization of Sam Shepard’s play The Buried Child. Because the search for identity in Sartre’s original thought in Shepard’s works can be recovered in the form of parallelism and the combination of freedom and rebellion alongside each other. This article is written in a descriptive and analytical way, and the methods of collecting and classifying information are done using library studies.

After a huge success of Beast and Beauty production, Disney company desided to act as a Theatre company as well as of a film company. So in 1994, and for the first time, Beauty and the Beast was produced for stage and caused a vast revolutionary atmosphere in Megamusicals of Broeadway. During next three decades, Disney Theatre Group has adapted many animation into stage productions and at the top of them is the best-selling show in history, the Lion King. Based on the success of Disney animations on Broadway, the research aims to examine the potential of animation in the process of this adaptation by analyzing successful theater-animations. Thus, the authors with a qualitative approach and descriptive-analytical method by studying various sources and reviewing Disney plays and animations reached eight capacities of animations for adaptation in stage theater. Capabilities such as pre-guaranteed storytelling in maximizing sales of child and adult audiences, character transformations, special scene design, enduring and popular songs are the main features of an animation for theater adaptation. In addition to these, better sales of theater by-products and their popularity in schools, as well as attracting various tourists to the region, are among the ancillary capacities in adapting theater from animation. The animations provided great capacity for adaptation in the theater. Capacities that can be well pursued, created and upgraded in our country, Iran, despite successful and best-selling animations at the box office. The popularity of these animations among children and their audiences can well pave the way for the adaptation of animation in the country›s theater. A path that reconciles more children and their families with the theater and creates successful and glorious musical theater with a local feel based on local animations.

In this article, while focusing on the three areas of theater as the ancient mass media, the marketing concepts and the capability of modern social networks, the researchers have studied the “theater marketing strategies using the capabilities of social networks in Tehran.”. The phenomenon of theater enjoys a public and communicative identity. Changing lifestyles, births, needs, and fundamental transformations in business relationship demonstrate the conscious institutionalization of theater, taking advantage of the vast capacity of group networks and the acceptable power of the performing arts, to achieve the desired model in the field of modern marketing. Accordingly, the main questions of this research are the following questions: What are the components of the marketing model for theater due to social networks? What is the current state of the theater and its markets? What are its strengths and weaknesses? And what are the opportunities and threats to this potential market? This research is based on the method of strategic analysis, elite or SWOT (SWOT), knowledge of internal and external points, purposeful sampling method, and the sample size of 40 experts, by validating the research tool (questionnaire) through Cronbach’s alpha in the environment. Software (SPSS) has been reviewed. Also, according to the typology of the surrounding environment and drawing the current and desired situation, from the distance technique; SPACE evaluates the situation and selects the optimal strategies. Findings show that the preferred model that is recommended by using social networking capabilities for theater marketing is a model based on SO strategies or offensive strategies to be able to take advantage of internal strengths and opportunities. Foreign events have achieved maximum success in the market.

Alchemymical “Characterization” and “personality” are the cornerstones of drama; many apply in both playwriting and play criticism and analysis. Especially in game genres that deal with deeper concepts of the characters’ personality aspects. Studies of the status of “personality” from both the theatrical and psychological perspectives lead to a better understanding of the executive factors as well as the theoretical domains of dramatic works. By recognizing the mental-physical characteristics of the characters such as interest, hatred, physical and sensory tics, as well as their thoughts and behaviors, brilliant results were obtained that will strengthen the performance and analysis of the games. Schools and styles such as Jerzy Grotowski’s “Silent Theatre”, Meyer Hold’s “Biomechanical Theatre” and Eugene Barba’s practice unleash the abilities of the human body as it tries to make sense of and harness knowledge of anatomy, the respiratory system, and even sports such as yoga. Recognition of human personality is not limited to the use of acting power and includes areas such as playwriting and play analysis. This research tries to use the knowledge of “temperament” as a branch of traditional or ancient medicine and to present a new method to the research subject. The provision of patterns for the classification of dramatic characters has provided a temperamental capability that can be used as a method in a variety of fields, including the characterization of dramatic works. This research was carried out with the descriptive-analytical method and the play of Martin McDonagh’s The Beauty queen of Leenane nin was used as the study sample of this research.

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.

Apprehension of the fundamental and noble notions of art, can lead to a better understanding of practical arts such as architecture, the- atre and cinema and their similarities. Architecture, theater and cin- ema, apart from their practical aspect, which creates the environ - ment, in the process of comprehending the space, all three share the same three principals which are interwoven together by architects and directors. This research, with a descriptive-analytical approach is studying the generality of this similitude and the ability to use this similarity in practical arts. Using the virtues of wisdom and experience are two important factors in this research, which can simultaneously use both divisions alongside each other. Architec- ture, cinema and theatre can be mediums to present ideas, and these ideas can be common between different Medias and different fields. Indeed architecture, theatre and cinema are composed of the same main elements such as stage, space, light, movement, and perspec- tive. Architects, directors of theatre and movies are continuous - ly trying to communicate associative concepts in order to narrate ideas and complex concepts in a symbolic environment. Indeed the art of architecture in theatre and cinema represents itself as the factor creating balance and harmony in the shape of images and composition of stage in which special and temporal properties of the space, color, lights, shadows and shades have different effects on spectators. Visual perspectives in the background of a movie have an important role in creating the ideas of the director and the producer of the movie. Actually, directors create the environment and temper of the space and characters by using architecture by the mean of concepts and visual perspective. Identification of these interactions and their effect can be of great help to the artists in cre- ating their artistic product and create an appropriate understanding .of environment and space required for each category