Theater
Year:2018 | Volume:- | Issue:74|Papers Count:6

Theater can be used for its dynamism and continuity while preserving its traditional values and paying attention to rules and structures. It can utilize and develop its potential by relying on modern technology at multiple levels and disciplines and the efficient use of multimedia tools to create the physical and emotional spaces in the theater. Therefore, the use of multimedia (media alliance) has become both a feature of contemporary art and a necessity. Due to the speed of transmission of information and messages as well as its profound effects on different domains and the close relationship it has with its audience, the main purpose of this research is how this approach can be achieved, to study its various aspects, and to update theater in Iran. In this regard, by looking at the works and style of the pioneering and influential designers and directors of the world and contemplating their experiences, one can discover the profound effects of multimedia on contemporary theater. This will encourage theater greats to further expand multimedia theater. Among the goals are to achieve innovation and new methods of action through the use of modern-day technologies as well as properly use media and media alliance to achieve a new, global language, and revitalize theater. The research hypothesis is that we can create emotional and physical spaces in theater with the help of multimedia tools. In this regard, advanced fundamental research, through library studies and the gathering of theoretical and practical results obtained in the theater lab, examines and identifies the various media and their characteristics, how they function in multimedia theater as an effective tool, how everything is transformed to the media in the theater scene, and discuss the production aspects and practicalities directing this practice in multimedia “ A Love Letter. ” Finally, the proposed hypothesis will be analyzed. Therefore, the main

Theater poster is one of inseparable part of the theater production in the modern era. Theater posters is not only an advertising to troupe stars or hall, but as the first element of theater that Approaches to the audience, like the other elements of drama and theater production, display information from the internal aspect of production to spectators and the audience. If the poster of the theater is not the theater’ s first act, it’ s an important one. The first information about the theater performs through the poster to the audience. Theater’ s poster is not just an advertisement, an address, and so on. The poster invites us to the theater, tells us what kind of theater we are going to do (popular, political, intellectual, etc. ) and many other information that can be presented in theater poster through dramatic action to the audience. Dramatic action is “ a collection of events that together form the story and its original function is to reveal the character and the plot. ” The above general definition of dramatic action makes two things clear: one is that the domain of dramatic action extends from the field of text and dramatic performances, and second that the transfer of the idea, the plot, and the theme through it is possible. Drama and dramatic action in two-dimensional arts such as poster is possible through different and intertextuality readings. A different aspect of the dramatic action on theater posters is that some graphic designers have been able to convey to the audience through dramatic action in the poster, theme or the essence of the dramatic effect. This study was conducted on descriptive-analysis method, theater posters designed by Michal Batory as a text, which is composed of different layers, based on the theories of semiotics is studied and tried to find a knowledge about dramatic action and transfer the theme and the concept of the theater in these posters.

Puppet and puppetry for a long time in the East, in addition to entertainment, has been a despair for expressing pain and public criticism, Studying and comparing different doll and puppetry styles can be a way to understand the common roots of cultures and nations. Mobarak and Karagoz are two of the puppet shows in the neighboring countries, for a long time in Turkey, with the focus on the Karagoz personality, to express culture, communication and education, especially to educate the new generation, And also for the economic dynamics of the puppet’ s origins and the spread of culture and propaganda. That has made karagoz more familiar to the public as well as introducing him to the world. After attending Turkish theater festivals, the author realized the popularity and deep connection of the people with the puppet, But the important point is that due to the common limitations of both the show and the two puppet characters at some point in time, Karagoz and Shadow theater have been resurrected with full support, and even the Karagoz is present in spaces other than the show. Therefore, the question arises how to benefit from Mobarak like its Turkish counterpart due to its cultural and economic function. It should be said that in line with the field study and the gathering of resources, opinions and opinions of experts, in addition to introducing and displaying two types of puppets, we have attempted to analyze positive strategies for Karagoz. Check the lack of presence of Mobarak. Reasons The result is that with regard to Karagoz placement in the various cultural spaces and its positive impact on Turkey’ s cognition, society, culture and economy, it can be said that there are many commonalities that have been further crystallized in the characterization of the two puppets. With proper planning and preparation, the Mobarak has the potential to be revitalized, and the use of this valuable object of feeling and perception drives society towards poetic recognition. So the Mobarak can interact with other cultural products and create an interactive application space.

One of the most important theatrical events was the formation of various theatrical groups that took place after the political currents of the 30s-with its negative influences on Iran Dramatic Art-and subsequent positive revolutions of the 40s in the field of theater and literature in Iran. Anahita, as a significant theatrical group in Iran with multiple aspects and various perspectives, has received little scrutiny so far. Therefore, given the vital role of such groups in the process of formation and development of Iranian theater and training theater actor, the purpose of this study was totally evaluating the Anahita theater group and clarifying its impact on theater and acting art in Iran during its official activity era, between 1337 and, 1343 and also thereafter. Due to this reason, first, a brief overview of the activities of theater groups in Russia and European countries such as Germany, England, etc, . which have influenced the world theater, is shortly presented. Then, as the Anahita Group was formed to promote Stanislavsky’ s system, in a brief discussion, this method will be explained, and finally, the activities of the Anahita group will be examined considerably. This research has been conducted using a library research method by gathering information through documents, visual resources, and publications as well as field research through interviews with several artists. Then, the required data were collected and classified into eight main categories and sub-categories. Analysis of the findings shows that the presidents of the Anahita group( Mostafa Oskooyi and Mahin Oskooyi )were able to introduce Stanislavsky’ s method to their students and provide practical training. They were also capable of influencing the theater community of that era by declaring this style and nurturing the actors who were trained Turkey’ s regular modeling and continuous support of the Karagoz guide us to achieve solutions that can maximize the potential of the Mobarak?

Creating a new theatre style was an important event in Iranian theater which occurred in the late Nasserian period coincided with the rise of the communism wave, which led to the beginning of the transformation of the Nasserian amusing theatre into European style theatre and the subsequent formation of the first private groups and theaters. This new structure quickly expanded independently along with financing itself, b) and after a while, it completely separated its path from all sorts of imitative theater, passion-play, and founded the roots of the first professional theaters in Iran between 1300 and 1332. But the flow of private theater in Iran could not continue for a long time, and that flow stopped after one or two decades. Several factors were effective on this halt: Establish strict rules, conflict between political parties and states, and lack of government support for private theaters at the time, and a tendency to create a theatrical flow that is consistent with government policies, in addition to hide the interregnums created. Therefore, this study was carried out aimed to address the following questions: What cultural currents were effective on the development of private theater? How was the effect of political currents and parties on the development of private theater? What changes have been made in the process of private theater with the entry of sovereignty into the field of theater? How did the political status of the government affect private theater activities? And finally how were the effect of social and political factors on the process of stopping the private theater movement? The present study seeks evaluate the evolution of private theater in Iran from a historical perspective by considering the political and based on this method. The performances of the Anahita group exhibited such a new form of stage performances that had not existed in Iranian theater before. But their technical quality was quite mediocre. The final result of this research is that the Anahita group has trained great artists who each have had a significant impact on the Iranian theater. And, until now, they have been able to prove and retain their brilliant and enduring names in Iran Dramatic Art history.

Cultural geography, has been more extensive than a mere branch of human geography. Today, the thinkers in the field of cultural geography face complicated, but important issues pertaining to such social processes like identity, difference in cultural structure, allegiance and sense of belongingness. These processes challenge our perception of such geographical sub-categories like space, earth and environment, and finally general and private. What is considered in this article is the intertextual relationship between the cultural geography and the dramatic literature with special emphasis on the element of violence in the Senecan works, Thyestes, in particular. It is possible that by studying the human geography and the playwright’ s environment, we can establish a relative relationship between them. Based on this argumentation, the natural human environments are able to produce similar cultures as far as their social behaviors are concerned. A descriptive – analytical method is used in this article in order to focus on the intertextual relationship between Senecan Thyestes and the dominating subject of violence. An attempt is made by the author to answer to the question: how has Seneca been able establish a relationship between the cultural geography and his tragedy, Thyestes? The result of the present article indicates that Senecan works, Thyestes, in particular, is a reflection of the culture of the contemporary people of Rome, and in this way we are able to observe a relationship between the cultural geography and Senecan works.