نشریه تئاتر
سال نهم شماره 89 (تابستان 1401)

Konstantin Stanislavsky, Michael Chekhov and Stella Adler, as three different and successive generations of believers in believable acting, ask the actors in their courses to first analyse the play, extract the personality traits of the character from the text of the play and then perform other performance. During the last century, many actors and acting teachers have tried to put this idea into practice in order to increase the quality of the actors’ performancs. Also, based on this idea, courses such as Characterology and Personality Psychology have been added to the actors’ training courses. Also, books and pamphlets have been published about them, and practicing this field has become one of the most important tasks of actors and other people active in theater. On the other hand, psychologists have categorised people in groups, which are called “personality types”, to facilitate the identification of individuals. To identify the personality and personality type of individuals, there are defined principles and rules according to which it is necessary to collect a wide range of information about the individual. Otherwise, it is impossible to determine the personality and personality type of a person. About a century has passed since the publication of this idea by Stanislavsky, and more than half a century has passed since the expression of this doctrine by Michael Chekhov and Stella Adler, and the world of science renews its propositions every day. It was necessary to examine the this idea and the possibility of putting it into practice from the contemporary psychology point of view. Therefore, the authors of this article have chosen the views and opinions of Karen Horney, Carl Gustav Jung, Gurdjeef and other commentators and developers of Enneagram as the theoretical framework of this descriptive-analytical research. This article was written using library sources and reputable scientific websites to achieve the purpose of this research. The achievements of this research, which are presented in “general” and “partial” parts, show that the fore mentioned theory is not applicable. Also the application of any “special personality” to any of the characters of the plays published so far has no scientific aspect and if a personality type is declared, it is the result of people’s imaginations, rather than the result of the play.

The play script is one of the main elements of a play; most of the weaknesses of a performance is often linked to the weakness of its play script. In the field of children and young adult theatre, too, play script is a fundamental element, since most of the theatrical performances in this field are based on text. However, in Iranian children’s theatre, this element does not seem to have received the attention it deserves. And in this respect, most of the plays of children and adolescents have serious problems. In this article, we have examined the main weaknesses of some Iranian children’s and adolescents’ plays based on the principles of Aristotelian drama and by studying the content and structure of twenty-five play scripts. Our hypothesis is that in terms of content, extra emphasis on the basic idea and repetitiveness of old themes are the main problems whereas in terms of structure, plot weakness is the main setback within the mentioned field. To examine this, 25 Iranian/Farsi play scripts published between 1998 and 2014 have been examined, selected from a wide range of works by veteran to novice playwrights and from a narratological point of view in both content and form (structural) aspects. All of them have been studied in detail in “The Dramatic Critique of the Plays of Children and Young adults” (Jalalipour, 1396). The research findings showed that in this field, the concern of creating educational and pedagogical works has often led to production of ideological works, which means that direct and instruction teaching and rhetorical and boring messages outweigh the attention to aesthetics and fun element of the text and the unfamiliarity of the authors with the characteristics and needs of the young audience has led to sticking to old and repetitive pedagogical themes and formulas. Structurally, we have demonstrated that the plays have hardly moved anywhere further than the original text in terms of narrative form. This is especially the case with those derivative plays, which constitutes a significant part of such works. Furthermore, most of the plays are characterized by weakness in dramatic elements (plot, characterisation, building the right atmosphere and writing efficient dialogues,…).

The aim of this article to investigate the cause- and- effect relationships of the rite of the transition Mithras myth to the ritual of Mehr and Metz Maher in the cultural of the people living in Central Asia and the Caucasus from the perspective of drama anthropology. Morphology based on the cultural elements of the Mehr myth with the feature of intercultural cognitive origin, it has always been a concern of Orientalist’s and mythology researchers. The aim of this article to recognize the rites of passed from depictions of the myth of Mehr in ancient Iran and how it is used with titles such as Mets Maher in Central Asia and the Caucasus, Especially in the Armenian plateau. the evidence shows that in the BC, 2000. the myth of Mithra went to Central Asia, the Caucasus, the Black Sea, Europe and the Near East (twenty-six European and Asian countries) as a symbol of peace, friendship and love) including Armenia. and now it is still going on in some parts of the world. Central Asian people, like Iranians, adhere to the myth of Mithra and the actors related to the protection of fire, water, earth, and air. the results of this research show that there are many archetypes and representations of “Mitragan”, “Metz Maher”, “Barigendan”, “Mez Akhchik”, “Deren dez”, “Vardavar” and even the alphabet of the language that can be found among Iranians in commented. the people of Central Asia and the Caucasus are particularly popular among Armenians. It seems that the myth of Mehr in Armenia belongs to the important periods of Zorvan, Mithra and Zoroastrian religions. but its expansion in the world is related to the periods of the Achaemenid, Parthian and Sassanid empires. the period that was the origin of the cultural intermingling between Iranians and twenty-six satrapies under the Iranian empire. the research method in this article is documentary-field, and the author’s participatory observation in the research field (the performance of Metz Maher’s mythological) and it has been analyses and interpreted using the qualitative content analysis method.

This Article is a study of the musical tools of Ta’ziyeh and how it employs the Dastgāh and Āvāz of the Iranian traditional music, which is considered an Iranian- Shi’ite artform. What opens Ta’ziyeh for more examination today in Iran and even worldwide is its intrinsic dependence to musical elements as well as utilization of the two entangled components of poetry and drama. Moreover, Ta’ziyeh’s involvement with mythology and with matters of faith has turned it into an interdisciplinary artform and a drama with a musical-ceremonial theme. The different analyses done in this article show that this musical phenomenon is a structuralist formation where the choice of Dastgāhs, Āvāzs, and melodic circles, and in all sections i.e., Pishkhāni (overture), Noheh (elegy), monologues, dialogues, and instrumental sections, is contingent upon the specific contents and needs of each Ta’ziyeh. For this reason, to better understand how Ta’ziyeh works and how the musical elements of Ta’ziyeh are picked it is necessary to study Ta’ziyeh from a musical point of view. Therefore, the current study uses the existing Ta’ziyeh texts and performances to take an analytical and interpretational approach to understanding the ways the choice of music and the contents of the drama are connected, and meanwhile introduces the properties and the variables of Ta’ziyeh. The results of this study include important points, such as: Choosing a main Dastgāh or Āvāz as the performer of the musical atmosphere, specific to each Ta’ziyeh; Commencement and conclusion of the Ta’ziyeh is presented in a specific Dastgāh or Āvāz, suitable to each Ta’ziyeh and the landscape of its story; The melodic design, choice of Dastgāh, Āvāz, and Goosheh (piece of Radif), in different kinds of Ta’ziyeh’s monologues such as Monājāt (fervent prayer, often chanted), Khatāb and Farmān (addressing and commanding), speaking to self (Monologue), Rajaz-Khāni (recital of epic verses in defiance of enemy), and characters’ speech, are all done according to the capacities of each part, dramatic events, and contents of the drama; The casual use of excess syllables, like the extended, redundant “O” vowels, extra “keh”s (meaning which, or that), etc in order to achieve harmony between the melody and the poems; all of the above are counted towards the results of this study.

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.

The term “experimental theater” emerged in the twentieth century based on European theater’s innovative productions. When the questions of European theater artists changed in terms of how they could impress the audience in different ways than “bourgie theater” does; thus new methods had to be developed. Renovating communication forms with the spectator resulted in new kinds of stage performances. The rejection of thematic and formal standards in theater led art critics and historians to suggest an “experimental” title close to the concept of “avant-garde” to understand and recognize such works. In the Iranian theater, however, this concept has been very controversial. Each group of Iranian theater practitioners has interpreted this term in terms of the examples they knew as the “experimental theater.” The primary purpose of this study is to clarify and present a formulation of the different approaches of Iranian theater agents to the category of “experimental theater” in the first two decades after the revolution. To achieve this goal, by researching theoretical ideas and practical aesthetics made by these ideas, we have found a specific pattern which illuminates approaches and inferences of the Iranian theater at the desired time. In this study, the concepts of Pierre Bourdieu, the French sociologist, have been used to clarify the logic of action (theoretical and practical) of Iranian theater agents to the concept concerned in this research. In this study, controversies over theater have also been analyzed; Topics like aesthetics of performance, audience’s perception, the hierarchy of director and playwright in production, and the social function of the theater have been argued here. The central idea of this study in examining the action of the “experimental artists” is the distinction they make between themselves and prevalent ones in the field. According to the actions of the agents of the Iranian theater field in the first tw o decades after the revolution, three approaches can be identified: 1) “ex p erimental theater” as a non-professional theater, 2) “experimental theater” as a theater of academics and theater students and 3) “experimental theater” as a method in opposition to conventional aesthetics.

The language, wording and tone selected by the thinker in dialogues between individuals creates a situation by which personal experiment could enter the public arena. The characters of such a drama carry the pseudonym of the philosopher in a passionate conversation that roots in philosophical thought. Kierkegaard is well-known in this path. He wrote many of his crucial philosophical texts under a pseudonym. Before Kierkegaard, Plato _the father of philosophy_ chose a pseudonym called Socrates for changing and transforming the oral tradition of philosophical thought into a text. The available platonic writing set which describes Socrates is a representation of the status of a philosopher-citizen who turns into the hero of a philosophical drama amid various complicated historical, political, and social crisis of his society. And it sounds like a riotous outburst from the one who knows enough to be able to boast everywhere and exhibit the ignorance and wisdom limits for everyone. According to Plato, Socrates is one of the others inside an author who are talking to each other in eternal symposium dimensions. A conversation toward a transcendental matter. Socrates had announced that first and foremost he wanted to be in reality that if there is any reality, it would reveal through trimming at where we are, in public arena at Agora where people socialize with other people in the heart of Athens in 399 BC. Whether the rebel of dense clouds of ridicule city was a fraud rhetorician or the martyr of awareness incident who took a romantic gamble on his disciple’s martyrdom for faith, covenant, and the worn-out hidden clarity of the egotist democracy and finally made a choice out of compulsion. The accused had been delivering ‘apology’ which is the same as ‘defense’ in Greek, in front of the judges and the society conscience in the public arena. Thus it is dramatic even if its narrator and author would like to act the role of an honest reporter of a reliable event.