نشریه تئاتر
سال یکم شماره 57 (تابستان 1393)

In this article, a narrative of “Koroglu and bald Hamza “rewritten by “Samad Behrangi “which is a translation of a part of Azerbaijani folk epic “Koroglu “in Persian, with the aim of assessing the capability and efficiency of Propp‘s pattern in morphological analysis of this story, has been analyzed and reviewed. Although Koroglu epic is rooted in historical facts, but because of its orall transition during a long time, some foliage are added and mixed with the wishes and dreams of the people. the results of the morphological analysis of this epic, are match with the Propp’s patterns results. It can be said that Propp’s pattern - despite the criticisms about its functionality – has the capability of popular and oral epics rooted in real facts–even with lots of changes - morphological analysis.

Redefining the term Happening as an executive manner in the contemporary art seems necessary at the present time, because on the one hand, the term Happening is negotiated itself and it is translated to terms such as event or attracted events, etc., and on the other hand, because of its structural elements and features, there is no comprehensive and scientific definition and due to the definitions given in different resources, it has been created more doubt, suspicion, and even myths about happening. In this paper it is tried to define this executive manner with the help of Happening Art creator’s views Alan kaprow.

The main part of the present research is a philosophical assignment in epistemology; therefore its main objective has been to investigate how literature and Sartre’s drama can affect philosophy. And, in view of the fact that Sartre, with a deep outlook in domain of philosophy, specially intellectual movements of manifestology and existentialism, has been regarded as owner of a specific and unique style and method and has been influential in his own age and even after his death as a well know and contemporary dramatist, this paper, therefore, assumes that through transformed reading and new horizons, studies the processes and stratagems of impressionability of Sartre from this philosophical papers and may reach to an acceptable response and takes a step in this direction. To investigate it there were used librarian method as well some philosophical movements: Manifestology and existentialism from the beginning up to Husserl and Heidegger as well it was considered its effect on Sartre. The results are as follows: all philosophical movements were linked to each other such as chains to make improved. Actually they went up through Husserl and Heidegger then Sartre recognized Husserl’s Manifestalogy and Heidegger’s existentialism. Then through combining both of them as important philosophical aspects, he could use them in his literature and dram, even he has already tried to develop them. The present paper is going to investigate the remarkable dramatic work, Devil & God by Sartre as an approach of above mentioned aspects.

In This paper in addition to showing the characteristics of oriental styles and performance tricks, The shared major parts of them are categorized and introduced. Then we discuss how the two prominent theater director and theoretician in the first half of the twentieth century, Vsevolod Meyerhold and Edward Gordon Craig, have benefited from the oriental theater. In This article which is a descriptive - analytic study and use library resources, these main questions will be answered that how Meyerhold and Craig have benefited from forms and practices of oriental theatre specially from Stylization aspects of it. And what is the results of Comparing these two theorists’s approach to oriental theater? It is mentioned in the conclusion part of the paper that for Meyerhold, the Principles and methods of stylization, and emphasis on the actors physical education are more important. This reflects in the Meyerhold’s style of Biomechanics. But Craig pays attention to east to get rid of the realism and to regenerate ancient theater principles. for Craig The contracts of oriental theater because of their mystical and symbolic nature, provide an appropriate field for anti-realism. also the oriental theater in his opinions, is more reflected in the The stage design and in setting the audiovisual space of drama.

This paper seeks to show that it is a religious ritual and mythology in addition to long-standing relationship, as symbolic stories are linked together. Meanwhile, the practical aspects of performing the rituals leading theater and plays rooted in religion today, is the ritual and myth. Each of these appearances as well as a way to contribute to the shaping of modern drama. The results show that more opportunities arise in the myths of various cultures and religions, with their similarities. However motif similar drama, common among myth, religion is also seen. So mehr and Zoroaster in Persia before Islam, and Islam has been selected as the three religions of ancient rituals involving them in the creation myth is extracted and examined. It also can be concluded that the behavior and display of religious symbols before and after the advent of Islam in Iran have many similarities. Of celebration, narration, oratory, ritual, wrestling, marches, battle, mourning, passion play, sacrifice, initiation rituals and. .. Places such as temples, gymnasium and. .. Are involved in the formation of today’s display.

Art is not existed from nothingness, it existed from time and place, location and society that his creator lives in. Critics is as a judge in his day. Although we have many kinds of criticism such as graphics and theatre criticism, but here we speak about theatre sociological criticism that sociological critic works on the societal facet of dramatic art. In fact the sociological critics find the social meaning of the text. In sociological criticism, critic tries to find social problem and try to solve them. This article is about theatre criticism based on Hippolyte Taine view, the sociological critics, and the research method is descriptive – analytic that show us how sociological criticism base on Hippolyte Taine is exist.

Radio, as a powerful media in today’s world has special status among audiences. Created dramas in these two media, “stage drama”, and “Radio drama” although have common parts as “Plot, character, dialogue, …”, but they have many differences too. These differences lead to the main question that arises in our mind that is; dose the radio drama succeeded in providing pleasure and enjoyment to the listeners in true sense of term? Can it offer experience like stage drama? The main point emphasized in this article is the investigation on these two drama and analysis of the content and structural elements.

Myths are the various incidents or reflection of the struggle between good and evil in human being or creatures that transferring from one generation to another with language. Language is contains of words, phrases and sentences, that became a conversation to exchange ideas. Present in stories, plays and other literary works and similar functions such as entertainment, education and are sustainability as part of their own culture with elements such as sequence of events, conflict and climax and have two-sided communication with the audience and improve the story. But with all the appropriate functions in drama and fiction, the language is disused and caused us to look at something that is Exclusion in our culture. This research raised the theory of language and myth with a dramatic aspect (Story) that is a language in human history, in one of the South legend called ((parrioun)).