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

Bahram Beyzaee is one of the Iranian writers, researchers and artists who has created valuable and worthy works of critique and analysis in theater. Although the typology of his dramatic works has been considered in the context of several writings, they have been less scientifically and methodologically categorized and typologically analyzed. Of the typological views, Northrop Frye has a prominent viewpoint and offers a functional classification of typology. He adapts each type of comedy, romance, tragedy, and irony / humor to one of the Mythos of spring, summer, autumn and winter, and for each of the mythos, he has six types or stages that lead to an accurate intraspecific diversity division. According to Fry's viewpoint, it should be noted that the important work of Bahram Beyzaee,"The King Snake", can be evaluated and typologically criticized. In the research, we tried to use a qualitative analysis method based on library and documentary studies, and the use of Mythos theory of Northrop Frye, to present a typological analysis of the play. The research's achievements suggest that "The King Snake" in Fry's typology is belong to the fourth type comedy, which can provide a basis for familiarizing with a part of the material Beyzaee works. The king, the minister, the sheriff, the ambassadors of Jablasa and Jablaqa in this play, including the characters of Alazon, king snake, Lady Negar and the demons / trees / and the four complainant farmers are Erone characters, and Black is Clown Which is another comedy character. At the beginning of the play, the comic society has overthrown the order and the Utopian tries to create the order of the past. According to Frye Mythos, the comedy community, which is presented typically a small part of it, is such that the heroic society overthrows the old society and wins. This heroic community has once again brought the golden age society back to the audience; that is, we had a society that was stable and orderly destabilized by the precarious society, and the heroes are trying to regenerate it. Of course, comedy "The king Snake", like other comedies, only shows part of this complete round that is related to fourth Comedy Mythos. As a result, "The king Snake" in the ranking of Mythos, it is related to the fourth type of comedy Mythos. In this context, moving from the experience world to the ideal world of innocence and romance begins. Romantic comedies that can be seen in the Shakespearean romance comedy are usually related to the medieval tradition of seasonal ritual games. They can be called the Green World; whose design is akin to the triumph of life and love over a barren land. In the " The king snake", we also see the symbol of the green world in showing the ideal society. Ultimately, the love of the king snake and the lady Negar wins the world of barren land; that is, the play depicts the ideal society from the beginning and brings the society to our attention by describing the garden where the demons (ordinary people) are present.

Comedy, humor or joke in general is an alternative to tragedy. If the tragedy sees the world as the cradle of the invincible powers of the gods and destiny in the struggle against the elders and the favorites of society, by mocking the power, comedy helps the common and humiliated man to win in the battle held by the powers in his absence, but to determine his destiny. Wherever crying does not suffice for the tragic fate of mankind, humor accepts the responsibility by making them laugh. It is not in vain that typical theatrical emoticons are shown in the form of two smiling and crying faces. Tragedy and comedy are two contrasting but interconnected aspects that have defined the theater since the beginning of history. The protagonist of the comedy, unlike the tragedy, removes the destiny and fate-makers by trickery - and sometimes stupidity. The weapon of epic theater in this new struggle is not the ecstasy and commitment of the spectator, but rather the arousal of his consciousness and knowledge in the constant awareness of the theater stage as a theater stage and not the reconstruction of reality on stage. Epic theater looks at the spectator as a partner in discovering the reality through play and show, and therefore tragedy is attacked by humor through content and form, so that instead of fearing the fate, human thought becomes aware of its fate and ways to deal with it. In this article, we will see how the play “Caucasian Chalk Circle”, as a new theater and breaking the Aristotelian standards in the old theater, has used comic elements (humor and comedy) in its structure to be able to use features such as catharsis and Go beyond the strong Aristotelian plot and transform the play by the spectator’s awareness of his position in the modern world.

In investigations about historical literature of ancient Greece, Greek women were typically imagined oppressed and subjugated. Yet, women’s roles and positions in ancient Greek dramas, whether in tragedy or comedy, are unexpected and controversial. Traditionally, scholars understand this paradox simply inspired by the mythological system of thought of that time, but in the late half of the twentieth century, different interpretations of the female characters in dramas were suggested. Among the Greek dramas, I chose three comedies by Aristophanes, the father of Greek comedy. The plays are known as “women’s plays” and they are including Lysistrata, Thesmophoriaszousae, and the Ecclesiazousae. In Lysistrata, instead of gods and goddesses, women are the savior of Greece nation. They resist in front of militant men and bring peace to Greece. In another play, Tsemmophoriasus, women protest against misogyny and atheism existed in Euripides tragedies. They condemn Euripides to death because he insults women in his tragedy and made the situation hard for them. In Ecclesiazousae, women seek utopia by presenting the ideas for a communist society. They make their dream come true by disguised themselves as men and going to parliament. They vote for women ruling and made their utopia for a while. Aristophanes confronts women and men in three different positions in these three plays. In this article, these works were examined, and besides that, two opposing interpretative approaches on these three comedies were presented. I entitled them negative otherness and positive otherness. On the one hand, some scholars believe the otherness of women and the active roles of them in these plays are comical and abusive (negative otherness). In this part, I mostly concentrate on Taaffe interpretation. Meanwhile, other scholars suggested different approaches to women’s otherness in these comedies which are in accordance with feminist standpoint theory. They argue that women in these comedies are not comics at all. Women in these comedies are “the other” who has the epistemic advantage in comparison with men (positive otherness). They applied their own lives experience to make peace and ruled a utopian government, which can be explained by “Feminist Standpoint Theory”. In this part, I use Strauss and Foley analysis. At the end of this article, I conclude that studying Aristophanes’ plays from the late perspective provides a better understanding of the otherness of femininity in his works.

Chekhov’s humor is characterized by the role of his characters and their worldviews in his dramas. Characters inChekhov’s dramas while being funny in some moments create a feeling of pity in the audience. This is the case with the most of characters created by Chekhov. On the other hand, he does not distinguish between the main and secondary characters as there is no inclination to heroism in his works. Characters are displayed in Chekhov’s dramatic works in an uncertain state when they are involved in creating unintentional incidents and events. Such uncertainty as a feature results in the funny and satiric situations. An awareness of this feature is of high importance for analyzing and performing Chekhov’s plays. This is a contradictory situation as the analyst or the performer is likely to be dragged into comedy or involved in tragedy on one hand or in comedy and humor in the other extreme. Having a serious look at the characters’ worldviews, this article explores Chekhov’s humor in his dramatic works and its findings can be used to avoid one of serious pathologies in analyzing and even reproducing his dramas and plays and eliminate misconceptions about the nature of humor in his works. For instance, exaggerating in creating comedies without a regard for the comic aspect of Chekhov’s dramas can affect negatively the analysis or the performance of such works and event create a false impression of the Chekhov’s humor and downgrade it to a kind of lampoon. As such, the present study by providing an analysis of comic features and especially humor in Chekhov’s drama with an emphasis on how characters are created, attempts to offer some implications and shed light into the nature of humor in his works. Accordingly, an exploratory-interpretive analysis is employed to assess the comic features in Chekhov’s dramatic works. The research model is “Cherry Orchard”, one of the eminent Chekhov’s plays, which probably can serve as the best source of data for exploring satiric features in the writer’s works. To this end, a library and a priori research method is used to assess the opinions based on the research model and provide the conclusions.

In addition to categorizing the four literary genres (tragedy, comedy, romance, and irony) into four mythoi (autumn, spring, summer, and winter), Northrop Frye, a contemporary structural critic, presents himself as an Odyssey critic who is enthusiastic about comedy. In addition to analyzing these four genres, he also considers their structural and character patterns. He believes in the mythological origin of comedy in ancient festivals celebrating the arrival of spring, and he presents a variety of theories on spring mythos and comedy. In this paper, which investigates character patterns in contemporary Iranian comedy, we have attempted to make comparisons between these patterns and the patterns presented by Northrop Frye regarding western comedy in order to identify and introduce them as a structure in contemporary Iranian comedy. Frye divides comedy characters into four categories: Agroikos, Alazon, Bomolochoi, and Eiron. Due to spatial limitations, this paper only explicates the first three categories of characters. Alazon is a charlatan who pretends to be something that he/she is really not. In other words, Alazon is the Bad Man and the antagonist of comedy who always hinders the protagonist from achieving his/her goals and getting to his/her sweetheart. Bomolochoi is a type of character that brings a festive and happy atmosphere and who does not participate in the progression of action. The oldest kind of this type of character is a parasite. Agrikos is a character with negative characteristics, yet his/her credulity causes Alazons abuse him/her. He/She is a stingy, selfish person who disrupts others’ pleasure. This paper recognizes these types of characters in contemporary Iranian comedy and expatiates on their comparative characteristics relative to the patterns presented by Fry. The research method for the paper is evaluation and morphology. This is done by sampling contemporary comedy scripts that were played and published during 1360-1390 in the solar calendar. The samples include seven contemporary comedy scripts. Sampling is done on three types of Iranian comedy: modern comedy, traditional comedy, and Laalehzaari comedy (boulevard comedy). Traditional comedy consists of traditional cheerful Iranian plays like “Siaahbaazi”, and modern comedy characteristically corresponds to New Comedy in the west. Out of the seven sample scripts, three are from modern comedy, three are from traditional comedy, and one is from Laalehzaari (boulevard) comedy. To attain reliable and standardized conclusions, this comparison is performed through a χ^2 one-tailed test with an error coefficient of 5%. In order to answer the main question of the research, we evaluate how closely the analyzed scripts match Frye’s theories. Finally, from a total of 35 data inputs for this research, 23 data inputs matched and 12 data inputs did not match Frye’s theories. This study’s results show that: 1. It is possible to use morphology on contemporary Iranian comedy characters by incorporating the critical pattern of Frye’s archetypical criticism. 2. Traditional, modern, and boulevard Iranian comedies are a little different in their character patterns from Frye’s patterns in western comedy.

The oldest comic playwright from ancient world، whose works have survived and reached us، is Aristophanes the Greek. Names of many comic playwrights are found during the 5th century B. C. in Ancient Greece; however، works of none of whom is survived virtually complete. Thus، the only criterion for judging comedies of Golden Age of ancient Greece is applied to the works of Aristophanes. He can be considered as the founder of comedy in the whole world. There is little information about him، and the truth of his life should be searched for in his plays. He lived at the time of catastrophic Athenian-Spartan and Athenian-Sicilian wars; traces of such fierce battles can be found in many of his works. Four of his eleven plays such as The Acharnians، Peace، The Birds، and Lysistrata have explicit plots against these wars. Ridiculing Athenian militant rulers، Aristophanes establishes his dream of a war-free Utopia. Aristophanes’ comedies have been translated into different languages of the world and performed many times in the past century and in the 21th century though twenty five hundred years have passed since their creation. One reason for the dramatic approach to his comedies may be his irreconcilable conflict with the war. Aristophanes lived around 448 to 380 B. C. His youth coincided with the powerful era of “Pericles”، Athens’ powerful ruler. Athenian-Spartan War took place in early years of Aristophanes’ youth، i. e. in 431 B. C، and out of Pericles’ ambitions. This led the young Greek comedy writer to leave his farms and lands، like many other people، and immigrate and take up residence in Athens like most people of rural Attica Peninsula. In his comedies، one can always see a suffering image of themselves throughout the history. Characters in his works often provoke our sympathy and depict the common pains of humanity before our eyes. He is always looking for the ideal way of life. Aristophanes has a dream of a utopian society in which corruption and waste have not penetrated، and has no trace of poverty and injustice and war. All his predictions came to realization during his lifetime. He witnessed how the agitators of war and armament merchants put Athens in fire and imposed poverty، forced migration and massacre on the society. Yet، his genius lay in that، in a land of fire and blood، he would find something to make people laugh while Athens was filled with dead bodies and dying men; and by the time the heart of the city stopped beating، the suffering writer still found an excuse to create a comedy. The author of the present paper specifically addresses the issue of war in the writings of the ancient Greek playwright. Although he was an open-hearted brave warrior، Aristophanes hated the wars destroying Athens، and severely criticized the agitators of war with the fearless and reckless language of his plays. He، specifically، expressed his opposition to the long-term Peloponnesian Wars in his works which will be discussed subsequently. This paper reviews Aristophanes’ social status in Athens’ war-torn society along with searching the roots of his hatred of war in his works.

bstract zerbaijanis are among the pioneers of drama and theatre in the Middle East nations. ajaf Bey azirov (1854-1926), the second Azeri dramatist after Mirza Fathali Akhundzadeh. He had reated ive comedies, before he produced Tragedy of Fakhreddin (1896) the first tragedy ritten by Caucasus uslims. It is generally believed that Vazirov followed the dramatic style of his orefather’s omedies, but there are evident deviations, the most important of which is rejecting khundzadeh’s endency towards a final reconciliation. This structural division is in parallel with the ontrast between omedy and satire in Northrop Fry’s genre theory, where both of them are regarded as arrative literary genres. Comedy favors reconciliation while the aggressive spirit of satire rejects it. Satire is not merely a genre, and is more generally considered as a mode -i.e. a way of representing charactersnamely ‘low mimetic’ in Fry’s account. This paper is reveals a sociological approach of satire in first six plays written by Vazirov, based on concepts borrowed from the psychoanalysis of Jacque Lacan. Based on interplay of the Imaginary and the Symbolism in ‘mirror stage’ theory, it is shown the Vazirov’s emphasis on the ignorance of his people is intermingled with the ideological hegemony of the Russian colonialism. Then it is shown how the possibility of a sexual satisfaction as the traditional symbol of reconciliation in comedy, is usually hindered by a feminine character, known in psychoanalysis as the dominance of Maternal Superego. This is interpreted as a reflection of the exclusion of Muslim inhabitants of Caucasus from the symbolic (political and institutional) structure of their society that is a way of ‘foreclosure’ of the ‘Name of Father’. This crisis of identity causes a chaos that gradually disintegrates the moral and formal coherences of Vazirov’s narrative on one hand, and leads to moral aggressiveness towards people on the other, that makes satire an imaginary subjection of them to an indigenous institution. Finally Tragedy of Fakhreddin is interpreted as a fantasy where the author imagines that the satisfaction of the losses has led him to satire. In summary, the author’s approach to form and structure as a whole is interpreted as a reaction to the politico-social discriminations imposed by the colonial conditions.

The present study deals with four forms of western comic drama namely Ancient Greek Comedy (Old Comedy and New Comedy), Ancient Roman Comedy, and Commedia dellarte as well as one form of Iranian Traditional Comedy, namely "Taqulid". Ancient Greek Comedy began at Athens in 486 B.C and was basically divided into three periods: Old Comedy, Middle Comedy and New Comedy. Old Comedy (468 – 385 BC) is known by the works of Aristophanes (career: 427 – ca.385 BC) who was the only author whose eleven comedies survived. There is very little known from Middle Comedy (385- 320 BC). Menander (ca 342 – 291 BC) was the only author of New Comedy (325 – 290 BC) that some parts of his plays remained. Old Comedy represented a political and satirical theatre that criticized the judgment system, attacked the new literature and philosophy as well as politicians and poets. The main focus was on Polis (Athens), while in New Comedy the attention moved to the Oikos (home), and the serious and critical theatre of Old Comedy changed to a lively and domestic theatre which plots involved young men in love, mistaken identities, long lost children and comedy of errors and comedy of manners. Ancient Roman Comedy is known by the works of Plautus (ca 254 – 184 BC) and Terence (fl. 166 – 60 BC) who both translated, adopted and Romanized the plays of New Comedy. The Ancient Roman Comedy was based on stock characters who appeared in every play. The main character of comedy was a clever slave who helped his master and was rewarded at the end of the story. The works of Plautus were more witty and popular while Terence followed a more serious and moral plot in his plays. Twenty plays of Plautus and six of Terence survive. Commedia dellarte was a dramatic form that flourished in Italy and throughout Western Europe from sixteenth to eighteenth century. It was performed by a group of professional actors which each actor played a specific character like Zanni the clever servant, the stingy master or the braggart soldier, and the play was based on a scenario of which all the details and dialogues were improvised by the actors. Taqulid or Iranian Traditional Comedy is also based on stock characters, the plots vary in different plays which could be historical, imaginary, ethical,…, and the main character is Siah the clever servant. The research questions in this study formed based on similarities and dissimilarities between Old Comedy, New Comedy, Ancient Roman Comedy, Commedia dellarte vis a vis Taqulid. The present comparative study, by applying descriptive and historical research methods, and based on a wide range of classical as well as new and celebrated research works, attempted to arrive at adequate answers to the purposed research questions. The research findings makes the formal and substantial comic elements in question more clear and appreciated when they are displayed in tabular charts, hoping to make Iranian traditional comedy more understandable when studied in comparative scope and explained with theoretical and critical approaches and concepts.

Athenian comedy based on a few ancient texts that is now available, is full of aspersion indecency against political characters and ancient Greek government. But because of this obscenities we should not consider this comedy as a worthless drama and not artistic. Aristophanes is the only comedy writer in the golden age of Greece that his works are available these days although his comedy is full of obscenities and sexual abuses but his dramatic style is full of complexities and that is why we can say his works are so remarkable. His works has become pattern for preceding centuries. This essay is about the origin and structure of comedy in ancient Greek drama