نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 36 (بهار 1403)

The present study examines the aesthetic representation of dream images in Maybe Some Other Time (1988) directed by Bahram Beyzai. The researchers aim to find the reason for the use of the form that is used in portraying the dreams within the film. Therefore, the study, with a neo-formalist approach, examines the way dream images are formed and their characteristics in the human mind. In this way, it pays close attention to the study of the dream-making process from the perspective of Sigmund Freud and the four important characteristics of dreams (absence of logic, disrupted narrative, double presence, and scattered images). Then, in the next section, by reviewing dreams in cinema from the early years of the invention of cinema to the present day and studying the innovative formal features used in world cinema to represent dream images, it looks at the techniques of cinematography and editing that can be used to approach the mentioned characteristics of dreams by using them in representing dream images. Thus, the reasons for the use of cinematic tools used in the construction of a cinematic form similar to a dream become clear. In the end, the researchers also analyze the dream sequences of the film Maybe Some Other Time (1988) based on the characteristics of dreams in psychology and the used tools, techniques, methods, and elements in the outstanding experiences of world cinema. By examining and matching the information obtained, the researchers find that the dream images in the present case study have used filming and editing tools to bring the images closer to personal experiences. All four important characteristics of dreams and activities such as condensation, displacement, and considerations (The primary dream-forming process) and the secondary dream-making process are evident in the dream sequences of this film. In addition, the influence of the successful experiences of world cinema, which have tried to imitate the personal experience in the film, can be clearly seen in this film. The use of aesthetic elements in creating the dream sequences of Maybe Some Other Time (1988) highlights Bahram Beyzai's formal concern for the synchronization of form and content.

Today, intertextual studies are of special significance and among all the styles Genette's style called transtextuality is dominant. Transtextuality presents an effective model, first to study the relationships between texts and then to know the influential factors in comprehending the text and how to enter the text's universe. This model includes 5 categories: Hypertextuality, Intertextuality, Metatextuality, Architextuality, Paratextuality. These five categories not only explain how a text in a comprehensive network is related to other texts, but also show that understanding a text depends on other related texts and meaning is a matter of intertwined communication. In the past century, transtextuality was used more in literature and Genette himself also had focused on literature and play. Then this method was recognized as a powerful tool in poetics and art criticism. This article shows how transtextuality can be used for music, and for explaining in details, presents musical examples in all categories. In the current article, work of music is considered as a text whose relationships, including intermusical or different arts, with other texts are studied based on transtextuality; therefore, there is no limitation on different genres for including examples. In addition, a new category named (Environtext) the environment of text is added to the Paratextuality category which is to analyze music paratextualy in relation to other arts.

According to Bakhtin's critical view, the language of literary and artistic works is not only a reflection of a meaning, but the group and class wishes of the people of the society have been deposited in them over the years. The plays of Iran's constitutional period, including Jijak Alishah, were written in the sensitive socio-historical conditions of Iran and in the heart of an important historical break, and therefore they contain the intentions and tendencies of many groups and classes. These texts follow Iran's new rise both in the prose stronghold, that is, the struggle with the language of the rulers, and in the social stronghold, that is, the struggle with their unjust supremacy and authoritarian behavior to achieve the revolution and establish the constitutional law. For this purpose, Jijak Alishah was written in polyphonic style, and in this research, the analysis of its different sounds and tones was done using library sources. In the end, this research has come to the conclusion that in Jijak Alishah, the simplistic and humorous language of the lower classes of the society is placed next to the old and worn-out language of traditional Iranian literature in prose and verse, and by breaking its complete dominance, he created a polyphonic text in which the criticism of the Iranian intellectual class of the way of governance and life of the ruling class promises new types of politics and social order.

Bruce Ellis Benson, in his phenomenological theory The Improvisation of Musical Dialogue, points out that in the creation and performance of a musical work, there is always a platform for improvisation that brings the composer, performer, and listener into a kind of discourse. Through hermeneutic phenomenology, he presents his theory in the context of Western classical music and jazz with an overview of musical traditions and applications. Improvisation has always had a special place in Iranian classical music. The purpose of this study was to investigate the concepts of Benson's design on improvisation, including the ontology of the musical work, the originality and identity of the musical work, the limitations of creative performance and how to convey the composer's intention to the audience based on Iranian classical music. In this research, which is in the category of qualitative research, the research method has been applied in terms of purpose and descriptive-analytical in terms of methodology with a phenomenological approach. All material is obtained through the library method. The results show that in Iranian instrumental music, "Radif" plays an important role as a musical world for a dialogue. Improvisation has an interpretive nature in Iranian music and Iranian classical music composers, along with ontology in Benson's theory, always enter into an open dialogue on the application of Iranian music in creating a piece of music. In composing their musical works, Iranian instrumental music composers always enter into an open dialogue based on the tradition and application of Iranian music, and contrary to the common notion that improvisation and composition are created out of nothing; Composing in Iranian music is always based on the tradition and works of the past (Radif, ancient works and even the composer himself) and in Iranian music, it is better to use the word "piece" instead of the work, which is part of a coherent whole. This piece of music, which lives in the world of the emergence of Iranian classical music, has a fluid identity that always continues to live with the performance and interpretation of an experienced performer who is familiar with the tradition and application of Iranian music. Also, the need for moral responsibility of Iranian music artists in the face of and in dialogue with the "other" is an important issue in Benson's theory and it is important to expand it in Iranian classical music.

The perceived schism between art and science has long been a subject of discussion, notably articulated by C.P. Snow as the "two cultures." In his opinion this division could be solved by creative chances. This article aims to explore the answer to this question how does the intersection of art and science become achievable? Theatre, as an art form, stands as the most compatible meeting ground between these disciplines. Examining the extensive history of theatre reveals numerous instances where theatre offers opportunities for bridging the profound gap between these seemingly disparate disciplines. This exploration categorizes this intersection into distinct levels: 1) Science plays 2) Postdramatic science plays 3) Technological theatre. Through an analysis of these levels, it becomes evident that all disciplines alternately complement and enhance one another. At the initial level, plays act as platforms to educate audiences on scientific theories, exemplified by Carl Djerassi's works. Scientific concepts, such as the uncertainty principle, also influence the construction of these plays, akin to Michael Frayn's 'Copenhagen'. The second level referred to by Kristin Shephard-Barr as ‘postdramatic science plays’ deepens the fusion of science and art. At this level, text does not play a central role in constructing the theatre, instead, the scientific theories shape the form of the performance. Scientific theories act as a blueprint for the play's structure. Furthermore, playwrights actively engage with scientists to enhance their understanding and incorporate scientific concepts into their work, such as the cooperation of Luca Ronconi and John D. Barrow. As a result, the intertwining of art and science deepens at each level, ultimately culminating in the third level: technological theatre. In technological theatre, which is referred to as digital theatre in contemporary performances, technology plays a key role in the performance which necessitates the collaboration between artists and engineers. Performances are regarded as a new form of art that we call “scientific art”, “scientific art” is an inseparable combination of technological science and performative arts. This level represents a direct intersection, serving as a vital bridge across the perceived cultural gap. However, the success of this evolution heavily relies on establishing a foundation of mutual cooperation and trust between artists and scientists.

Myths have always been represented in different forms throughout history. In the contemporary world, one can see a new reading of the definitions and concepts of myths in social, economic and political relations and in the field of art and works of art such as films, theater, etc. The myth of Leviathan is represented in the Bible as one of the myths of evil and turmoil in the form of written and pictorial discourses in the modern period. The English philosopher, Thomas Hobbes by likening the government to Leviathan, points to the power in the world today. He believes that the people of society should obey an absolute ruler, even a tyrant, in order to maintain peace, security, public protection and prevent evil or Levitation within the people. This kind of representation of Leviathan myth in the contemporary world is not far from the perspective of artists and filmmakers. Russian filmmaker Andrey Zvyagintsev wrote and made Leviathan based on this kind of representation of the Leviathan myth. The present article tries to examine the various representations of Leviathan myth by Thomas Hobbes and Andrey Zvyagintsev with a comparative approach based on library and audio-visual sources. According to the findings of this study, gintsev, by representing the myth of Leviathan, contrary to Hobbes's view, considers the myth of Leviathan as an evil government whose evil and harms overshadow the people of society and deprive them of order and peace, and in fact the government itself. It is the symbol of Leviathan. He borrows elements from the Bible as well as modern times, such as Leviathan Hobbes, to represent this myth in his film.

The eight-year war with Iraq has received much attention by cinema media activists, and they have depicted the themes of sacred defense in their works, both during the war and now after many years since that event, and it is attempted to represent and protect this epic of people. Making various works in the field of war genre bears witness to this claim. Some audiences imagine themselves as the main characters while watching the film. The audience gets immersed in the film and sometimes empathizes with the hero of the film and likes to build and advance the narrative of the film based on its own beliefs and desires. This viewer behavior between his real self and his favorite self, which is performed by the hero or the main character of the film, has created a special interactive relationship, and self-image. Replacing the viewer "himself" with "another" who is the hero of the film has existed in different periods of cinema style and various theorists have written about this topic, but it has been less studied and investigated in the field of sacred defense films. The researcher examines the situation and position of the audience in the filmic atmosphere of the sacred defense cinema. Thus, the main problem of the study is to analyze the function and role of the sacred cinema in creating an interactive relationship and replacing the audience's self-image with the other image and the main actors in the film space. The research method is qualitative based on the hermeneutic phenomenology method and based on collecting data from library sources, audio and video archives as well as unstructured interviews and purposeful sampling. The findings of the research show that the cinema of sacred defense has had various ups and downs due to economic, social conditions, extreme or negligent personal decisions of some managers, but because its subject is being inspired by the society and imagines a part of the national history of the people, its works have survived and have attracted audiences of different age groups, even those who have not experienced the war. Different generations of the sacred defense cinema have perceived the communication messages that are sometimes far from the goal that the filmmaker has referred and acknowledged, and sometimes it has been consistent with it, and the main cause is the conscious self-image of the audience. Sacred defense cinema has its effects on the perception of the audience and provides a fluid space for him to search for his beliefs and desires. Being affected by various contexts and circumstances, the audience sometimes watches it in order to escape and forget the problems and imagine their hopes and dreams in the course of the film, and sometimes they are affected by the event of the film and make their true selves based on it. This behavior creates a two-way and interactive relationship. The result indicates that the audience's self-perception is affected by identification, empathy, self-reflection, identification, self-awareness, immersion, agency, and otherness, which has been performed by various expressive methods in the historical periods of Iran's sacred defense films.