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

This essay trys to explain the role of “Young Iran’s Association” in cultural and social reformation of late Ghajars era and also Hasan Moghadam activities in this association that leads to the create and performing the play of “Jafar Khan has come from Europe”. After Constitutional Revolution and in line with modernism, so many associations and constitutions had been formed which their main goal was modern changes and reformations in Iran. In 1981 (1300 solar year) an association which called “Sorushe Danesh” had formed in Iran which its name later had been changed to “Young Iran”. This association included educated people and those with thoughts who believed that could reach to their goals usually in line with cultural and art and newspaper activities, and published their policies in a creed. Performing theater plays, publishing newspapers and articles, and also holding different conferences were their main activities. Attention to women’s rights and possibility of their education was among their viewpoints in a way that the association members knew it as one of their most important goals. Tehran’s and other Iranian cities destructions, severe class differences, poverty and adversity of people and workers and the lack of sufficient facilities for children and young adolescents’ education, had been mentioned as an important and serious concerns for Young Iran’s Association. On one hand people’s traditional culture and on the other hand criticizing the imitation of West culture, had turned to an essence for creating “Jafar Khan has come from Europe” play by Hasan Moghadam and Young Iran’s Association had performed this play in the hall of Tehran’s Grand Hotel. This performance had been welcomed strongly by the people and made this association and Hasan Mohadam more known and famous than ever and credited it as Tehran’s important open minded people association.The effects of that association in line with its chosen goals with holding seminars with upto- date subjects ,publishing articles and newspapers, performing successful plays such as ”Jafar Khan had came from Farang” that its name circulated among people and had received a very great criticism from valid press in those days ;had influenced on the society toward modernism; and not only had been attracted the open-minded and political people but also had been settled its place among the populace and could win them over itself.

This article deals with the encounter of “self” and “the “other” in the Iranian characters of the play Ja’far Khan is back from Europe by Hassan Moghaddam. This play is one of the most important plays of the early 20th century in Iran, and expresses the generation gap and the cultural differences between a very traditional Iranian family and their young son (Ja’far khan), who has recently come back to Iran after finishing his higher educations in Europe. The members of Ja’far khan’s family have made so many arrangements for the newcomer, and are extremely shocked to find out that Ja’far khan has totally changed to a person with European life style, and does not care about the Iranian traditions at all. His type of dressing, together with his ideology about abstaining from superstitions, are all quite new and unacceptable to his family. It is held in this article that the “self” and the “other” are among the most important “subject”s of the modern Iranian literature, which holds a bilateral relationship. This relationship creates an atmosphere in which the social and communicative forms are recreated  as the sew “self” and “other” relations, and face each other in different arenas, of which the current play is an example. In other words, what this article focuses on, is the method of the arrangement of the characters of this play, according to some basic concepts such as language, dress and clothing, and the metaphoric and semiotic system of “self” and the “other”, which leads to the manifestation of the characters, and their different features. The ideologies of the characters of this play are studied with an analytic approach, and their discourse will be the major source of concern. Here, by discourse, we refer to the social approaches of each historical period during which the Iranian “self” and the experience of “the other” is created in this Iranian play. The results of the research show that the characters act as a type of subjectivity, and reveal their “self” characters when they face the “other”s. In the play Ja’far khan is back from Europe, the characters of the house act as “self”, and Ja’far khan acts as the “other”. As a matter of fact, the “self” people gradually turn Ja’far khan to an “other”, and this takes place as a result of the specific discourse which is a result of the social patterns of Iran in the time this play was composed. In this play, all the members of the family arrange their powers in a way that the person who used to belong to that house turns out to be an “other”. They first try to make this other similar to their own selves, and fail to compromise with Ja’far khan. Then they try to make themselves similar with that “other”, and they get no result other than surprise, carelessness, or anger, but they finally fail to make Ja’far khan the person he used to be before his dispatch to Europe for his studies.

In this article, the question is about in what forms an Iranian character encounter - Consciously or unconsciously- with “self” and “other”, in the play “ Ja’far Khan az farang bargashteh” by “Hassan Mohaghdam”? The “self” and “other” are metaphors which refer to the most important subject of modern Iranian literature. This relation involves a relationship. The relationship which creates a space so that social and communicative forms could appear and be reproduced as social characters as well as their different kinds of encounters – “self” and the “other”. Here, the focus is on concepts such as language and outfit as well as the metaphorical and semiotic system of “self” and “other”. This system will be examined within the interaction of characters and constitute the above discourse. Here by discourse, I mean a certain attitude and point of view in any historical period by which the Iranian “self” tends to experience something and it is the “other’s” experience constituted in the play. In this article, I attempt to show how the characters in the play as a kind of subjectivity and “self”, stand against subjectivity of “other”.