نشریه تئاتر
سال هفتم شماره 81 (تابستان 1399)

The French phenomenological philosopher Maurice Merleau-Ponty, by emphasizing the priority of sensory perception, seeks to find and describe the subject’s relationship to the world in which he exists. For him, perception is related to the object, place, events, world in which we live and despite Our bodies emerge. According to him, perception is a secret in the depths and angles of the body, which, by appearing in every body, creates faces that are the basis of any human experience and understanding. The purpose of this study is to explain the sensory perception in the formation of Marina Abramovich’s performances from the perspective of Maurice Merleau-Ponty and to answer the question of what role sensory perception plays in the formation of her performances. One of the most important achievements of this research is that Abramovich developed the concept of sensory perception by using her body, place and time creatively, and subsequently formed her artistic performances by changing the level of consciousness. This research is a descriptive-analytical method and library resources and valid Internet databases have been used to collect data.

An operatic form of theatricality in which music provides theatrical effects and is a mixture of music and drama, and opera artists must be proficient in both parts in order to create works of art. Constantine Stanislavsky (1863-1938) Theorist, the inventor of the acting system, was also an expert in the field of opera and had important writings and achievements. Since 1921, he has taken charge of the reconstruction of opera art and the management of its opera house in Moscow, providing training and transformation in the direction and direction of Russian opera. His teachings to opera singer-actors on the basis of his acting system led to new standards and attributes in opera art. In this descriptive-analytical study using library and Internet resources, the basic question of how Stanislavsky utilized his acting system’s teachings to guide and direct opera actors was discussed. How did his performance in the field of opera influence the ways in which opera was played? The main hypothesis in this paper is that the Stanislavsky system has certain rules and principles regarding opera singer-training that can be categorized and analyzed from stage work to role play, and stage play. It is also emphasized that Stanislavsky has made remarkable achievements in his opera system and has made significant technical and creative breakthroughs in the Russian opera, utilizing his extensive opera work and producing a significant generation of readers. In this country, Opera doctrines, and based on system principles, have introduced new standards of opera acting.

article focuses on the importance of theatre by exhibiting the meaningful relations between the theatre as a pure form of art and a conscious and creative society. Although such relations may have been grown organically from the needs of the society at first, throughout history, they have been discovered, analyzed, and developed by various scholars and philosophers. In another historic view, one can realize how the appearance of several different yet relatively similar “commercialized art forms”—or one may call it entertainment models—seem to move theatre into a precarious situation within the society. After tracing the differences between various performance forms which are all perceived as “Theater” I will discuss the causes of such diversity and deviation. In the search for the roots of theatre, this article will define tragedy as a representative of the interplay between traditionalism and modernism while reflecting on how tragedy stands against essentialism and rejects the existing hierarchical system within the society through challenging its values. Inside our encounter with theatre, we as humans are positioned in a contrasting world that includes two sides, one is dead and the other one is unable to be born, and theater is the conflict between these two organic energies. It is the tension between creativity and regulations, liberty and barring liberty, dream, and prohibiting dream. Just like magic which is a revolt against the holy, theatre is a revolt against the dominant system, which works as a permanent revolution that constantly destroys and reconstitutes structures and forms. Moreover, it is similar to the people’s real issue with “musts” and regulations, which are against freedom. Fine arts make the world talk more directly to us. We observe the world in the way that arts teach us, and finally, nature will turn to art as the human turns to be the people that dramatists have in their minds. This is why awareness of such issues is not only crucial for the artists but also for anybody who seeks peace for the society, which can help to improve theatre in order for it to play its effective and expected role.

The Revelers (Lootiha) and all its other branches like Lat-ha, Jahel-ha and Lumpens and Dash Mashdi-ha are a social group that had considerable role in the political and social processes in the country. Looti-ha which are a degraded stratum of Fattiyan, Ayýar-ha and Shater-ha, have special traditions and culture that separate them from other social stratums. Whereas authors utilize the traits of people of the era to create their opuses, so most of fictions and dramas try to present the characteristics of those people who contribute on community events in their era. Esmaeil Khalaj is one of the most important cotemporary playwrights of our day who represents Revelers and Lumpens traits in his works. Based on this information, the research hypothesis is that whereas Lumpens were bully, profligate, naive and racketeer and revellers were respected by people, so they contribute on a lot of community events in the 40s and 50s. Hence Esmaeil Khalaj who has chosen the main characters of his plays from those people of low social and cultural class in society and usually regarded their life style and those characteristics of them which were effective in society. Considering this hypothesis, the researcher proceeded to investigate Esmaeil Khalaj’s drama in which these traits are prominent and answered the basic questions of the survey. The questions are: why has Khalaj proceeded to represent revelers and Lumpens traits, And extended some traits of these people such as having hangout, being competitive, procuration and etc. in his works? The researcher used analytical-descriptive method for this survey and collecting data by using library technique. Based on this research, we can get this result whereas the influential people in the society abused the naivety of these people by arousing their traits such as being claimant and patriot, it caused their different impact on important events in society. So the authors proceed to represent the personal characteristics of this group of people to state the difficulties of the society of their period.

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.

is one of the most important forms of Iranian drama. Taziyeh in different cities and regions of Iran has differences in performing method and form and is performed in a traditional way in Meybod city and during all these years as a performing art has always been in close contact with the people and is a part of the general culture of these people. Due to the importance of Taziyeh in Meybod and focusing on its special features in this region, this study investigates the form of Taziyeh in this city. The purpose of this study is to study the characteristics and features of taziyeh in Meybod, as a religious media and to record its unique features among other methods of performing taziyeh in other parts of Iran. Therefore, the basis of preserving the structural aspects and emphasizing and paying attention to the content elements as well as the communicative approach of taziyeh with the people, which is directly related to the religious beliefs of people, has been seriously considered. The present study is based on this hypothesis that: “The life of Iranian taziyeh is depended on traditional, cultural and religious belief of people. due to the religious and traditional beliefs of the people, and ignoring this popular range can affect the quality of performance and its acceptance.” “. Therefore, in this study, we seek to answer the main question: “What outstanding features in the performance and communication of taziyeh in Meybod have caused the survival of this theatrical style in this city?” And “Will the disconnection of traditional and cultural backgrounds destroy the popular position of Taziyeh?” To find the answer of these questions, Taziyeh in Meybod is studied with a long history and it is widely accepted by the people.Based on the findings, I will seek to evaluate and focus on the characteristics of taziyeh and the cultural and social characteristics of this ecosystem. Recognize, the important features between the past of Taziyeh and the predictable possibilities about the future of this Iranian performing art.