Theater
Year:2015 | Volume:- | Issue:62 |Papers Count:7

Jerzy Grotowski, one of the activists of the twentieth century actor training, with the launch of the second experimental theater, devoted himself to the study area of theatre. Grotowski has used classical and modern concept of Yoga in the field of training actors and producing dramatic work. In this article, the concepts which stem from Grotowski’s point of view, have been classified this way: Drama as transcendence of the self, the breaking strength of theatre, the process of donation and discipline, purification of the soul that leads to training the holly actors. Individual vision which emerges from concentration Yoga, poverty and satiety in which rejecting the usual theatre full of shortcomings and accepting the poor theatre has emerged from. This article with descriptive-analysis way has attempt to demonstrate that how Grotowski in the process of training actors and also performing scene dramas has benefited from teaching Yoga. Also in this article, there is an attempt to answer this paradox why he has criticized the use Yoga. As a consequence of this study, it is said that by comparison the classical and modern Yoga with Grotowski’s opinion about acting and theatre and also studying details of existing paradox on Grotowski’s use of Yoga in acting we reach to this point that the quote “Yoga is inappropriate for an actor; is a coating that encompasses the reality of Gerotovski, s theater.

The present situation of Persian theater, based on current events and contemporary situations in terms of guidance, planning and mechanisms governing theater production, is evolving and transforming. This article is written and arranged based on statistical perspective of the Persian theatre performances and Iran theatre management system. The main question in this article is "How and why Persian theater, in terms of management and production systems, are changing and moving towards private theatre and what effects are influential in this change?" Undoubtedly, in this article a number of reasons and aspects of change are answered, the extent of this move explained, and also an analysis about the way of Persian artists and the flow of Persian theatre have, will be provided in this study. With reports from the office of planning of the coroner's Performing Arts Ministry of Culture and Islamic Guidance of Iran.

This article attempts to re-analytical and cognitive origins fifty plays are implemented, by local playwrights Province during the past fifty years, from the perspective of anthropology's performance. Lorestan Province proximity to Kurdistan, Chahar Mahal and Bakhtiari, Khuzestan, Ilam, Hamedan, Kermanshah, Isfahan, central Najd plateau of ancient history and civilization in the history of Iran. Accordingly it is expected that the local authority for the comprehensive study of the rituals of traditional performing arts is ancient. The findings show that since 1327 native Lorestan plays written by playwrights and performed by the natives. One of the plays as "Narook" by Morteza Jazayeri in other cities of Khorramshahr in 1327 has been performed. This paper has attempted to collect fifty plays the handwritten native Lorestan from 1327 to 1387 (fifty years) and analyze them from their dramatic scenes such as anthropology and literature. Finally, the authors considered the use of indigenous culture and civilizations based on customs, beliefs, worthy and scrutinize the evil Lor. Method of setting the paper documents (fifty plays native) is descriptive-analytic method of analysis "content analysis".

As a prominent figure in sociology, Emile Durkheim is one of the important contributors to the scientific methodology practiced in humanities. He classifies social structures and cultural norms, into two main categories: “material” and“ non-material”. He offered morality and “collective conscience” as the two most important examples of non-material social facts. Also he proposes the idea that people of primitive societies are held together by an irresistible force which he labeled as “mechanical solidarity”. Durkheim argues that in such societies, the individual is overruled by the society and therefore, punished if he/she ignores its values. Federico Garcia Lorca, the known Spanish playwright, provides in his plays the perspectives of conservative and closed society of Spain (Granada in particular) on the advent of the twentieth century. The present article attempts to trace the ideas of Emil Durkheim’s collective conscience in mechanical solidarity of primitive societies and the relationship between the individual and societies as such, in two plays of Lorca, namely Yerma and The House of Bernarda Alba. The study purports to show that how the deep faith of southern Spanish inhabitants in their traditions is rooted in what Durkheim calls the mechanical solidarity in the primitive societies.

Dramatic performance has existed in Iran throughout history. Siyah-Bazi is the only survival of those Iranian dramatic performances that mainly aimed to create a playful and funny interaction with its audiences. It once reached its peak but soon has been marginalized. The main reason for its misfortune may be relied upon unrevealed aspects of the play. Audiences go theatre with A given horizontal expectations, and dramatic form is surely one of these expectations. Since every dramatic form interacts with its audiences based on a specific function, this research attempted to identify the dramatic form in Siyah-Bazi. Thus it focused upon plot, character and function in comedy, farce and Siyah-Bazi to extract similarities. The end results indicate that Siyah-Bazi can be considered an Iranian farce, in terms of dramatic form.

The purpose of this study is to evaluate the effectiveness of theater training on learning life skills in adolescence in Bushehr.Due to the nature of the research study was a pilot or experimental. Samples were 40 young people who visited art and culture complex and selected between all.20 patients in experimental group and 20 patients are in the control group. Next, the two Groups using Soran life skills, pre- test was given. The group, for the eight group sessions was trained for theater art.Finally, the two groups Peg Test Performed Meanwhile, at the end of training, both in terms of the relative attitude questionnaire developed by the researchers to Learn were performed.The findings showed: an analysis and comparison of information obtained pretest- post-test training Theater, Life Skills subscales increases analysis skills test Soran life, the survey results indicated that self-learning skills, empathy and effective communication, critical thinking, problem solving and relationships between groups was not significant, but the results of research, education, theater the decision-making skills, taking charge of, self-esteem, management, stress management, these skills will enhance effective.

We all know monologue as a form of speech given by one dramatic character. The author is to expand this interpretation by applying the concept of sheer language which has been educed of Ferdinand de Saussure’s thoughts. Saussure knows the concept of sheer language as the human being’s whole power and forces to present meaning. In this paper “speech” and “parole” are assumed as a systematic set of words. The only difference is that “speech” is essentially verbal. The author is to survey the possibility of monologue being regardless of speech, based on other forms of parole presentation. Body language is one of our further facilities in this way. Especially, those visual words that thanks to virtual space development and thus easy applications have become conventional and conceptualized realities for users. Based on this approach, the author has also modified monologue definition by using Oxford, Longman and Merriam Webster dictionaries.