Journal of Fine Arts: Performing Arts and Music
Year:2013 | Volume:18 | Issue:1|Papers Count:7

focusing on spiritual and mental needs of slow-pace people i.e. mentally retarded people has been always an integral part of designing spaces for them. According to Lacan’sway of thinking, Real, Imaginary and Symbolic Orders are three ways of expression through human’s reality language and usually reality is considered as a combination of symbolic and imaginary orders. This research analyzes architectural spaces of Dodeska-den directed by Kurosawa in 1970 and it considersLacan’s Three Principal Orders, Real, Imaginary and Symbolic, from the viewpoint of a slow-pace person named Rokkuchan who narrates the story.As an appropriate way to create a connection between what Rokkuchanassumes and the symbols made in human minds of his society, he visualizes realities existing in poverty, fear and death in shanty-dwelling society in one point and goodnessin another, with the contrast between Rokkuchan and his society, continuously throughout the film in particular architectural spaces. The research contains an analytical- descriptive method with a combination of quantitative (theory to case) and qualitative (case to theory) methods.Lacan’s way of thinking is a deep functional psychoanalytical critique which tries to reveal hidden dimensionsof human existence.Kurosawa creates the same viewpoint when depicting unconscious feeling of social relations’precision. Explicating mirror stage theory, Lacan explains children psychology and social theory as an external image of the child that he himself accepts.He introduces three principal orders that are models for analyzing Dodes-ka-den. Lacansupposes imaginary order as one which humiliated human in modern era, i.e. it is an evident dimension of personality. Symbolic order depends on the environment an individual grows in. Real order is the same hidden personality that is meaninglessand nonsense sometimes. Kurosawa exploits this tool to organize shanty-dwelling society symbolically and from the viewpoint of a slow-pace person named “Rokkuchan”. He also reminds the contrast between Japan’s modern life, the symbol of which is car, and its traditional society with houses as a symbol, at the beginning of the film and he continues this throughout the film. Like a train and a train driver sometimes, Rokkuchan drives life in Lacan’s three principal orders. He displays shanty-dwellers’life with its unpleasant dimensions. Rokkuchan’s life train passes through all these sorrows and the dwellers, as wagons of this train, are another life train. This research shows thatspatial sense of slow-paces can be found through analyzing film spaces and shanty-dwelling society represents facts of slow-paces’ lives, e.g. designing spaces based on sick, crazy and retarded minds among this society in Dodes-ka-den. Regarding Lacanian psychoanalytical orders, Kurosawa was influential in designing scenes, inner architecture, landscape and sense of place. He has been successful presenting architectural spaces in this regard except for parts related to Imaginary order, since theywere formed artificially.He visualizes all unpleasant issues a slow-pace may face with during life.Eventually, providing a method of viewing cinema, architecture and psychoanalytical analysis, hidden concepts of space design regarding a slowpace teenager are presented from Kurosawa and Lacan’s viewpoint.

transcription of a musical piece from an instrument to the other, is an age-old work in this field. We have scores from the Renaissance period that don’t have any specific orchestration therefore could be performed with any combination of instruments. Also transcription of symphonies or operas for piano was common during the nineteenth century. We look over four editions of Bach’s first suite for lute and its transcriptions for the modern guitar, and during introducing the piece, at first we estimate them generally, then compare every aspects such as pitch, fingering, positions on the fingerboard, tone register, and etc. The target is to present some factors to differentiate a reasonable edition to catch rational performance of pieces like this. However there are some inconsistencies that challenge the originality of the work. Such activities always have many disputable cases. Constantly there are some attitudes that assume such tasks as a futile work that doesn’t have any originality. However such disputes aren’t so many about the similar instruments.Though this is the modern guitar that we have in a huge number in the world. Reaching to a source for the classic guitarists that have been tired from classical period frames, absorbed them to the sounds of Baroque music. But the main issue is how to come to grip with such great pieces, and the course of using our modern instrument’ s capabilities. We have to lay hands on prestigious status of these masterpieces, instead of letting them down. During the review of different editions available, we find out that dealing with different perspectives on performance; techniques, musical expressions, tone color, and etc. to achieve a single view, makes it extremely difficult. When speaking about different transcriptions and editions we should not expect essential changes in the presentation of these works, but there are a lot of distinguishing details which illustrate different editors’ outlook to this piece; details such as using ornamentations, different tunes, and even changing the key –although this last case can not be applied in this particular piece-. Moreover, editors from several nations observe works differently because of their ideological differences. In the part of samples, we will study some of diverse opinions or agreements among four editions and occasionally differences from the original work, and we will consider results of their works based on aesthetic and technical reasons. However the samples are more than those we refer. In the course of this process in some cases we are compelled to refer even to the works out of this matter –for example transcriptions of the other pieces by the editors –and to consider basics of the editors’ attitude and works carefully, by using them. Ultimately we try to distinguish fine or inadmissible points of the editions. The editions are: Heinz Teuchert (1979), Julian Bream (1981), Ruggero Chiessa (1991), and Frank Koonce (2002).

the main purpose of this paper is analyzing the form and Harmony in “Neynava”, a piece composed by “Hossein Alizadeh”. Written in 1984, the piece has been composed for solo Ney (an Iranian instrument) and string orchestra. According to Composer himself, this piece is developed according to “Dastgah of Nava” and its melodic movement and parallel combination is consisted of different modes that could be seen with similarity to modes in this Dastgah. Iranian Composers have always been interested in combination of Iranian musical materials with Western-European ones. For achieving a phenomenal piece using this combination, a Composer not only needs a perfect knowledge about the language of both classical and Iranian music but also he must be professional using these both sides. “Neynava”could be named as a successful piece in this field.Chords consisted of fourth intervals common usage started in the beginning of the 20th century in pieces like chamber symphony op.9 composed by Arnold Schoenberg. Though this phenomenon appeared just in this single piece of him it influenced other composers afterward. This harmony could be seen in other 20th century composers’ works such as Claude Debussy, Paul Hindemith, Béa Bartó and Olivier Messiaen. But we will see that choosing the notes of chords with perfect fourth intervals in “Neynava” have been chosen regarding important parts of Dastgah of Nava. In order to analyze the form of Neynava, each movement has been studied separately; then the rhythmic and melodic motifs of each part have been reviewed and classified all together. Furthermore, any conformity of different parts of Neynava’s forms with classical music or Radif, have been generally reviewed (if any). Then, a revision of sentences, their variations, and their rhythmic or melodic motifs, have been categorized and reviewed in each respective movement, in a general context of Neynava. However, any similarities of such motifs (including motifs with slight deviations) have been studied. In form analysis we’ll show that Composer developed general form of the piece, with consideration of general forms of Radif which means we can see that horizontal movements and contrapuntal melodic lines were taking a priority over vertical relations; though we can classify two different types of harmonies for this piece. Tierce harmony could be seen and it has been used when the Composer wanted to make a modulation to a new mode or to make a new texture. In second look it can be shown that each part is written with consideration of modal characteristics using those melodic motifs that could be expanded and changed according to Composer’s preferences.This change usually could be seen as a “rhythmic change” or adding more ornaments. In harmony analysis, the way harmony has been chosen and the instances of chords based on tierce or quartal harmony, will be reviewed, taking into account melodic limits in the mode of respective Dastgah, and using tonal plans derived from different parts of Neynava. The Analysis of Harmony in Neynava will show the way Composer create a harmony for string orchestra which is about to be accompanied by Iranian music with “Ney”.

for many years, the wood of walnut tree (Juglans regia) has been used for making Santur.Even though artisans have their own divers’ ideas about this species’ features; until now there has been no scientific data to support them. In Santur’s case specially, differently cut surface plates can be formed into final instrument. Besides, some steam treatments, which supposedly improve the final sound quality, are common for preparing the raw material. Their true efficiency is also unknown.In this study, specimens from Sanoor’s surface plates with different traditional grading were collected from ateliers of two professional instrument makers and their real vibrational properties were measured and compared. Different cutting plans, visual characteristics, the types of pretreatments involved as well as the sample’s age and conditions were the basis of grading according to artisans.Samples were dried and stabilized in a climatic chamber before being tested for their vibrational qualities. The vibration test was done using a non contact free-free bar bending method.The frequency sweep was between 100 and 500 Hz and both specific elastic modulus (E/ρ) –from the first frequency resonance using Euler-Bernoulli method–and damping coefficient (tanδ) –sing bandwidth at the half power–were calculated. Walnut wood had the basic characteristics of chordophones related species: high specific modulus and comparatively low damping coefficient. No statistically significant difference was observed between the four obtained mechanical factors (i.e. Density, Young modulus, specific modulus and damping) based on the wood conditions (Heartwood or sapwood). However the traditional grading was related to the measured characteristics. The best graded specimens had both higher densities and Young moduli. In all specimens the standard decreasing relation between damping coefficient and specific modulus was observed. This verified the trustworthiness of the calculated data. As a general fact, the results of acoustical tests were in harmony with the grading. This means that the better graded samples had relatively higher specific moduli and lower damping coefficients. The situation was vice versa for the lowest grades. The line separating the best and the worst graded specimens was very clear, on the other hand middle range grades borderlines were vague, meaning all the measured factors were almost in the same range. This indicated the importance of artisanal cut, wood color and design in traditional grading: one acoustically valuable specimen could be cast aside just because it is not properly cut. Steaming as a commonly done traditional pretreatment had improving effects on the wood’s final characteristics: it apparently caused the specimen properties to get closer to the best graded ones. An old wood can also be considered a treated specimen, as aging can also be done artificially (by the hands of the craftsmen through leaving the wood untouched for years before beginning the process of fabrication) or naturally (as in direct using of an old tree). Walnut aged specimen, also demonstrated nearly the best mechanical features, validating the choice of the instrument makers in preferring the aged wood over the freshly cut one. In conclusion, in the case of Santur, a significant coherence between artisanal experimental knowledge and scientific data was observed.

Unlike the early years of 20th century, in which, most theoreticians sought the roots of theatre in rituals, and based on this notion analyzed stage texts and events, contemporary theoreticians overview this phenomenon in relation with other performance genres such as play and their interactions. Accordingly, based-on-origin theories have lost their primary reputation, and so theatre is no more considered as an evolved performing form but just as a manner of expressing, parallel with other performance genres. On the other hand, a thorough cognition of play, its structure, the way that it is performed and its moods are functional prerequisites for examining theatre and theatrical text in relation with this phenomenon. Regarding two facts that the concept of play can be traced from pre-Socratic philosophers to contemporary postmodern thinkers and different anthropological and sociological studies have brought forward a vast range of possibilities for understanding the world of play, the onto-phenomenological approach seems to be the most appropriate one in dealing with play world. This approach strongly depends on both conceptual and structural achievements, which not only are of great help in interpretation of conventional stage texts and events, but also provide more innovative and complicated forms such as dark play, which can be beneficial in new theatrical recognition, expression and creation. Johan Huizinga’s HumoLudens- The Study of Play-element in Culture, has been a key source in play studies during last seventy years, and therefore we base our study on his notions.But, despite his genuine idea and significant approach, Huizinga seems to fail to present a thorough comprehension of play which can fully satisfy our demands in order to examine play and performance in relation with each other. In other words, the essential playfulness of play may be considered as the main obstacle to handing in such precise understanding. However, Huizinga’s insistence on culture’s birth in play still has its own supporters, but many outstanding reviewers have pointed to some paradoxical parts of his work and therefor depicted some concealed dimensions of play, many of them depending on the way the play is performed. We also are going to, next to reviewing a laconic introduction on the relation between play and theatre, shift our way to exploration of the concepts and structures of play by which we mean examining the notions of Huizinga and its limitations. By borrowing Huizinga’s ideas, we would find appropriate materials in order to confidently develop our exploration toward the very complicated structures, concepts, manifestations and moods of play.Anthony Scheffer’s play, Sleuth, as a typical case of manipulating plays and games in order to create theatrical text, will carefully go under study and by this we carefully take a step forward to have a comprehensive construction of play during its performance. Actually, play manifestation through performance reveals sophisticated notions of play such as frame, meta-communication and the message, complicated forms like dark play and deep play and amusing moods like flow.

presently, there have been many new techniques and performance methods evolved in the process of creating stage atmosphere; and subsequently in stage deign.The dominating atmosphere and scenography receives more attention in the modern pieces and plays and for that reason, stage designers use modern and new technologies in stage creation.There are many significant pioneers in this area such as Appia, Graig, Meyerhold and in particular, Josef Svoboda. Svoboda’s extensive knowledge and abundant use of modern technology as well as attention to the special characteristic of theater stage created have special characteristics in his stage design and this research aims at analyzing and discussing the structure and the categories in his stage design/scenography creations. The main goal of this research is to determine techniques and creative methods employed by Svoboda in his stage design and creating the drama atmosphere.In order to achieve that goal, following minor goals have also been pursued: ● Determining the characteristics of stage design in Svoboda’s designs and their aesthetic principles, ● Determining the methods of affecting the audiences in Svoboda’s designs, ● Svoboda’s use of modern tools and new achievements in science in the philosophical concepts expression. Therefore, this paper seeks answers to the following questions: ● What were the specifications, patterns, models and categories in theater stage creation in Svoboda’s works?, ● What were the effect of architectural elements in creating the stage and developing stage design aesthetical perception in Svoboda’s design?, ● What were the effects and place of technology and machinery (mechanical equipment) in stage design? This fundamental and through research has used literature review to collect information on the subject, followed by selecting some of the most significant scenography performances of Svoboda and extracting information such as specifications, patterns, models, elements and categories of scenography creation and comparing the results.In this regards and by adopting a descriptiveanalytical approach, the works and stage designs of Svoboda have been studied in order to while drawing and describing the atmosphere that governed his scenography notions, define the reasons and the special spatial qualities of his theatrical stages. In its path of analyzing Svoboda’s stage design ideas, and with respect to the noted goals, after reviewing fundamentals of research and history, the theoretical framework, questions, hypothesis and research methodology have been presented and analyzed under the two main topics as follows: ● Svoboda’s biography and innovations and creativities such as LaternaMagika and Polyekran., ● Svoboda’s approaches in stage design. This search gives the implication of the image of maintaining and saving ingenuity of theater with emphasize on the visual dynamism and variation, and linking it with architecture; as well as implication of that originality in creating stage/ arena and its interaction with theater audience. In another word, by creating dynamic spaces and visual variation, Svoboda tries to make the image in the stage, make it attractive, enjoyable, beautiful and suitable as well as entertaining the theater audiences and ultimately, giving meanings to the element on the stage to stimulate the theater audiences to think.

myth is as old as mankind; it has transformed and lasted in the form of stories, and anecdotes, together with literary and artistic works.One cannot ignore the presence of myths in culture, literature and art (especially cinema) every era ranging from the age of Aeschylus, Euripides and Aristophanes to the contemporary age of cinema has a firm attachment with myth- of all historical periods and in different literary genres and schools. One of the outstanding criteria of literature and post modernistic arts is their serious approach to myth and mythical narrations in spite of the fact that it is different from that in classical and even modernistic texts. The writers of present article have attempted to define postmodernist components of a Bahram Bizayi’s movie named“Marg-e-Yazdgerd” through analyzing and defining the significant features of content and structure of the movie. They, also, have tried to reveal that this outstanding movie in Iran possesses components likes: contradiction, lack of coherence, intertextuality, and a post modernistic view to myth. Special view to myth (heterogeneous myth, demythologizing, and myth deformation of hero) and its reflection in Marg- e-Yazdgerd are more outstanding than other criteria of post modernistic narration. In this article, the main issue is concerned with how myth is represented in Death of Yazdgerd movie and the postmodern approach of Bahram Beyzai toward myth in the above mentioned movie is of course analyzed and explained. In order to explain this issue, the authors have tried to answer the following three questions drawing upon intertextual method of content analysis and mythological criticism in cinema: a) what is the intertextual relation or relations of Death of Yazdgerd movie which is basically historical event with myth?, b) How and in what direction or directions the narrative structure of Death of Yazdgerd has approached the structure of mythological narrative?, c) In Death of Yazdgerd, upon which element or elements of postmodern narrative is myth and mythological narrative based? In other words, in addition to the special look at myth, what other elements of postmodern narrative can be seen in this movie? The most important and prominent postmodern elements of Death of Yazdgerd can be distinguished and interpreted among the following pivots: intertextuality, contradiction, incoherence, unreliability of constraints and passage of time, time being event-based, cyclization of time, all of them being interrelated with the special look of the postmodern narrative toward myth. Beyzai escapes from bringing up reality by creating imaginary cinematic images in the narrative text coming from Death of Yazdgerd. By provoking lack of certainty, he makes the viewers judge and also asks them to wonder what will happen in the end; does the miller kill the king? Does the king kill the miller? Or whether the king kills the king? Beyzai consciously challenges history and historical narrative and the realist narrative methods as well as thinking that this method is completely true and acceptable; the narrator of Death of Yazdgerd artfully makes the addressee doubt the reality, especially historical reality.