نشریه تئاتر
سال ششم شماره 77 (تابستان 1398)

The stories and tales of the Holy Quran have dramatic aspects (drama) and can be examined from dramatic aspects. The word drama in Greek simply means action. Action is the most important element of drama, which is fundamentally different from other literary works. James Thomas is one of the theorists who analyzes the text of the play based on the form and method of formalism. In his view, the formalist analysis of the play was subject to Aristotelian principles and practices that sought to analyze Aristotle’s poetics. In his view, the formalist analysis of the play was subject to Aristotelian principles and practices that sought to analyze Aristotle’s poetics. Physical activity is expressed in four forms: entry and exit, mezzanine, use of special equipment and special physical activities, and psychological action in the form of confession, order, and plans. This research seeks to examine the physical and psychological And it seeks to answer the (ع) actions in the story of Prophet Moses has physical and (ع) question of whether the story of Prophet Moses psychological actions? And what are these actions? The research method in this research is information analysis as inductive-interpretive and descriptive-analytical method. After the investigations, we come to the conclusion that the story has physical and psychological actions. And (ع) of Prophet Moses we can refer to the most important physical actions such as the entry of exits such as the arrival of Prophet Moses in Pharaoh’s palace. Mezzanine in the box of Prophet Moses when she was a baby in the Nile . The use of special equipment such as canes and special physical activities such as defeating the ship by Hazrat Khidr and the most important psychological actions, orders such as Pharaoh’s order to the magicians to confront Prophet Moses , Confessions, such as Qarun’s confession, point to his mistakes, and plans such as Pharaoh’s wife Asiya’s plan to keep Moses.

The present study, considering the need for the analytical study of the evolution of traditional Iranian plays, investigates the effects of social, political and cultural developments on the Iranian imitation ceremonies in the Pahlavi era, a period that has been less considered by scholars in this field, and seeks an answer to this question: What are the influences of the prevailing social and political conditions and cultural developments of this period on the stories and the way of performing the imitation ceremonies? So for this reason; Sociological analysis of documents, especially recorded texts, left over from joyous ceremonies in its various forms, some of which were recorded in the Performing Arts Documentation Center in the Shahr Theater Library, some have been documented by previous researchers in this field, and some have been acquired from personal archives. This study, identifying and analyzing the changes and developments that have taken place in the stories and the way of performing various types of traditional joyous ceremonies in this period, in the end concludes that: During this period, traditional joyous performances experienced their short peak time along with the demands of that time and then declined and even some of its genres - such as Siah bazi - at times have been considered as a serious competitor to the imported theaters in Europeanstyle theaters. Accordingly, based on the conditions and suggestions of the time, the interested topics and situations of the audience and social orders, and sometimes with the support of the government, in choosing stories to perform in homes and theaters and using comedy tricks and techniques, received changes and developments according to time and audiences’ demands and sometimes under the influence of imported theater. But despite the effort by those involved in joyous performances due to the tendency of the Pahlavi government and the desire of society to modernize and the loss of natural grounds for the growth and development of ceremonies, gradually began its decline and in the late Pahlavi era had a very bad situation. In addition, in this article, due to the researcher’s access to the documents which have paid less attention, some tricks and changes in stories and in texts of joyous plays are presented for the first time. It is hoped that the findings of this study will be effective in identifying the ambiguous history of Iranian joyous performances and will be used by play writers who are looking to revive and modernize these dramatic genres.

This thesis is about the influence of space and stage design on the mise-en-scene in Robert Wilson’s performance (1941-) as a designer of interior decoration, sculptor, architect, theater director and one of the most influential a contemporary theater avant-garde. Wilson is looking for a form of “Visual Theater” that all of the elements of the performance have same importance. In this regard, the formation of this sample of the theater with this approach to more understanding space in theater and also its effect to title complete section of the design elements is needed to better understand the work of the director/ stage designer. The purpose of this research is checking process of the formation of the theater centered on space, stage design, how it effect on the mise-en-scene and parallels with actor as a part of the designed space As a result, the study tries to achieve a new definition of the concept of the space and stage design and mise-on-scene in the theater, according to Robert Wilson’s approach.

Austin Wang, Taiwanese stage designer, is well-known for his skillfulness in applying a minimal approach in creating a virtual environment which function as the major elements of a story. This approach has transformed the audience feedback in modern era, enabling the process of alternating reality with virtual reality signs. On the other hand, it has provided the audience with the opportunity of being noticed with high participation and few limitations. A great many directors, actors, spectators believe that stage designing of virtual theater draws too much attention, and artificial staging diminishes the tie between the audience and the drama. Given that every work of art and literature is required to convey information and emotions to the audience by demonstrating different dimensions of the work, the present study, based on Austin Wang’s work on stage design, seeks to explore and assess these two positive/negative expansions as well as other effective factors in connecting the audience with stage design while using virtual reality. The research assumption is that; Using the effective factors of virtual reality in theater staging due to being virtual, not only does not cause problems in the audience’s relationship with the performance, but also makes it feasible to communicate more effectively with the audience. The research method in this article is qualitative/content analysis with a directional approach. The main question is how to use virtual reality in staging to create a more effective relationship between the audience and the performance? This research also seeks to find solutions for the effective use of staging using virtual reality in Iranian theater. And in this regard, it attempts to find a solution as to how different ways

Horror is one of the most popular genres which is rooted in literature and has enjoyed a serious presence since the beginning of cinema. Theater has also tried to catch up with cinema in this regard. However, cinema has always outstripped theater with the aid of more technologies. When we speak of “Horror” as a genre, we are often referring to the whole range of feelings connected to the emotion of horror, as well as dread, discomfort, revulsion, fear, and terror. Of course this is not the same fear one feels when faced with a reallife fright, but the same emotional working we feel when we cry at a tragedy or laugh at a comedy. In the case of horror, that artistic emotion is fear. Horror covers the waterfront in subject and style, but what its many different manifestations have in common is an ability to tap into our subconscious like no other genre. Horror stories have always been a way of addressing our deepest fears and desires, those ideas and emotions it might not always be possible for us to articulate even if we wanted to. Horror is thus a genre that is always ready to address the fears of the audience, these being fuelled by events and concerns on an international and national level. Horror has always made use of new strategies to be effective in performance over the years, which has resulted in more popularity among audiences. In supernatural fiction, the soul often takes the form of a ghost or spirit, whose unearthly and immaterial nature provides eloquent and terrifying rebuttal to those who claim that all that exists is what can be seen, heard, or felt. This ghost exists in a liminal space, poised somewhere between the physical world of flesh and blood and the (presumed) afterlife of pure spirit. The present study was conducted to explore practical ways to Light Design the theater of horror. The horror in question is the psychological- psychological horror that is caused by of using technology in stage design can be implemented in Iranian theater? And what are the advantages and disadvantages of this type of utility? The research method used is descriptive-analytical and data collection has been used from all valid library sources. Interviews of notable directors were examined and through this, conceptual codes were extracted via Atlasi software. The findings of this study explain the ten effective factors which increases the audience’s connection with virtual theater: “sense of impossibility”, “environmental fluidity”, “color and image quality”, “scale and arrangement of space”, “variety of scenes”, “light quality”, “imaginativeness”, “sound”, “speed of movement” and finally “sense of timelessness”.

Ritual theater have long played an important role in promoting the culture and identity of individuals in the community, and since all rituals have a rhetorical form, they require appropriate and highquality spaces to convey their content to a successful audience. However, given the importance of the audience in the field of theater and especially the ritual performances that were directly related to the audience, in this study, the audience was used to design the play spaces and the degree of satisfaction of the audience with the quality of the spaces so that the viewers could enjoy the quality of the spaces. To show promoting their liking and audience satisfaction. The purpose of this study is to examine the viewpoints of audiences regarding the type and quality of play spaces, especially in ritual performances. Initially, interviews with experts in the field of art and drama as well as design and architecture experts were extracted and the main design criteria were extracted. Then the information was collected by random sampling from 750 Ardabil citizens. The results showed that outdoor play spaces, location, combination of traditional and modern architecture, integration of traditional and modern materials, display content and other environmental factors had a significant effect on people’s satisfaction with the show. Applying these ideas to the construction the emergence of metaphysical forces (ghosts, devils, spirit, etc.). For this purpose, a descriptive - analytical method is used. Research data were collected using theoretical and observational library methods. The main purpose is to find and suggest ways to show metaphysical forces and create fury and fear in the audience using the Light Design that are important in building theater on stage. The most important findings and results of the research indicate that there is a solution for theater of horror in light design. The summary of these elements are: Correct choice of play where there is a theme for horror, Creating a suspension in the atmosphere and applying environmental factors, ascending from ignorance to cognition, apprehension, fear, panic and then keeping the atmosphere of fear, Creating meaning through the game of difference and repetition and conditioning of the audience, Proper use of the basics and design elements, lines, shapes, colors and realizing the full potential of the show’s execution and new tools.