Theater
Year:2018 | Volume:- | Issue:73|Papers Count:6

Performing arts as important parts of human culture can help to conserve societies cultural identity, all around the world. People of Iranian plateau have known Theater and dance in several mixed forms of music, play, drama or religious rituals and have used instruments like masks, costumes of animals or plants, and musical instruments for rhythm, at least since6 th millennium BC. From ancient times, cultural mixed forms of dance, play and drama have served rituals like celebration, mourning and worship in this area. The actors of those plays were masters of music, dance, physical acts and manners of expression. Artifacts with pictures of dancers, players or actors were found in many of archaeological prehistoric and historical sites in Iran. The first initiation of theater and phenomena of acting can be traced in ceremonial theaters to glorify national heroes and legends and to summon the enemy. Naqqā li as one of the oldest forms of traditional Persian Theater, is performing and recounting stories in prose often accompanied by music, dance and decorative painted scrolls. Tazieh, is another form of traditional religious Persian Theater in which the drama is conveyed through music, narration, prose and singing. Kheimeh shab bazi is the Persian traditional puppetry which is performed in a small chamber. Likewise, many other forms of traditional and modern performing arts are common in Iran. Since performing arts are parts of activities in art tourism, it can attract audiences with specific interests. Therefore, identifying of performing 149 73 arts potentials can provide a new opportunity to attract audiences for tourism destinations. Isfahan, with its magnificent historical squares, streets and buildings, is considered as a popular tourist destination and a major cultural and economic center of Iran. Identification of performing arts potentials in Isfahan province is a huge step to develop the tourism industry in this area both qualitative and quantitative. The main objective of this research is to investigate strengths and weaknesses, opportunities and threats of performing arts in Isfahan province. And a SWOT (mixed method) model was used in this regards. In the first step, the data was gathered through an interview form with snow ball sampling method. Saturation has attained in 48 data. In the next step a questionnaire was designed according to previous interview forms in order to calculate the scores of determined items. Finally, the strategy was determined through SWOT matrix. The results revealed that the competitive strategy which emphasis on products variety is the best strategy for promoting performing arts in Isfahan. The competitive strategies presented are as follow: the necessity of producing works of art based on custom and public interests and considering traditional performing arts; creation of a situation in which private section invests; supporting performing art groups financially to put them out of government control, creating a healthy and open competitive atmosphere among the formal and informal art groups; granting permission to display without objection; integration of both traditional and modern performances and presenting mutual works between artists of both styles.

Biomechanics is one of acting methods which has been innovated by Vsevolod Emiliovich Meyerhold (1874-1940) regarding to eastern Theater and Fredrick Winslow Taylor’ s theory of movement economy (1856-1915). “ How much energy consumption would be indicated during movement mechanism of biomechanical etudes performance by actors? ” This is basic question which would be answered according to this descriptive-analytic study. It is important in biomechanics because necessary basic data for next widespread researches related to actor nutrition science, metabolism, physical and environmental factors impacts on actor’ s acting, and similar subjects will experimentally provide for acting physiologists. The article presents field results attained from analytic investigation of registered numerical data collected by three axis Noraxon accelerometer concern to a few voluntary trained acting students. Tests have conducted on handclasp, slipping and slapping biomechanical etudes, at kinesiology clinic in Tehran. “ Evaluation and measurement of energy consumption indexes in biomechanics is possible thriugh experimental method” ; this is major assumption of this paper. It’ s also emphasized that achieving a modification for biomechanical etudes operation is accessible through elimination of motion mechanisms redundant by video check of actor’ s simulation software file. Conclusion confirms assumptions and declares that such studies would be good infrastructure for physiology, kinesiology and pathology of actor’ s physical movement in Theater of the world.

Naqali and Pansori; stagnation and dynamism (comparative study on two theatrical forms in Iran “ Pansori” is one of the traditional theatrical forms in south Korea that has many similarities with Persian “ Naqali” . This form of entertainment has been favored by different social classes since a long time ago and it has been performed in social, political and cultural events. While Naqali has a significant place in Persian performing arts history, this theatrical form has kept its existence in South Korea and has many performing similarities with Persian Naqali. But, the interesting speck is that this theatrical form in Korea, contrary to Naqali in Iran has been able to update itself with modern subjects, thus keeping its existence with many audiences. One of the main goals of this essay is to determine the reasons for the downturn in Naqali’ s performance and to analyze those reasons. Studying and perceiving Pansori and comparing it with Naqali can familiarize us with an important theatrical format in another culture. Also considering the roots of ancient theatrical forms in eastern countries and categorizing their similarities can uncover a similar cultural pattern, thus developing a wider theoretical horizon. In this article, while familiarising with Pansori and its performing methods, we will mention the subjects, the stories and in that order, we will analyze the reasons for the mentioned thesis. The query of the research is to find out how with all the similarities to Naqali, Pansori was able to transform itself into a modernized and popular form of drama while this did not happen for Naqali. And if we can find a way to upgrade the performance form of Naqali with the results of this comparison.

People express themselves through games, and others get to know them by watching them. This can establish a strong link between the player and the audience in a way that as the audience becomes an active trainer, the player gets the opportunity to gain knowledge and skills. The relationship between the trainer and the player in a game resembles the relationship that a teacher has with a student in the class. In a game, however, the trainer and the player are both more active, more intelligent, and more motivated. The output of game classes is relatively higher than that of usual classes, which has caused the leading countries to revise the education system and has developed phenomena such as nature school in the recent years. The aim of this paper is to investigate the effects of the theater games on human’ s development and education and to categorize explicit and implicit purposes of those games, which allow the trainer to design and play such games purposefully. The present study also aims at searching in the most original and interesting languages in order to reach the most basic purposes of education so that the previous shortages and defects in the education system will not be repeated. Another purpose of this paper is to answer whether the performing games are clearly and sufficiently in line with the general purposes of education in order that they can be used in the country’ s education system either by themseves or along with other plans. The researcher used 15 general purposes of 145 73 education of Frederick Mayer, which includes different individual and social aspects of human, as his model thirteen of which were observed in the performing games. Two educational purposes of Mayer, i. e. “ appreciating spiritual and ethical values ” and“ occupational efficiency” were not visible in the performing games, and they were not confirmed. These two purposes contain other purposes that are realized through the theater games indirectly and after other purposes. The signs of the13 purposes confirmed in the current paper can be observed and tracked in different stages of a game ranging from statement of the problem by the trainer and directing the player toward participating, discussing, and looking for the solution to drawing conclusion and summing up. Those purposes are also evident in the motives of such games ’ developers. The results of this study clarified the rate of various games ’ effectiveness on education, which allows us to redesign the games according to cultural and social conditions dominating the society. Moreover, the simplicity of playing such games creates an opportunity for the trainers and the people interested in education field to form classes with purposes different from those of usual classes in schools, institutes, etc. and purposefully perform such games under the desired conditions. Therefore, the purposes of education in the theater games are in line with the purposes presented by Frederick Mayer, and it is expected that the country’ s education system performs better than before by purposefully designing and applying such games.

Each theater scene is an event occurring in a space, and it is evident that space is not independent of the architecture and design of the scene. The concept of space, as the container in which the events occur, is experienced by the agent of the time and expresses a narrative. The factor of time for experiencing space is the reason for the hierarchy and narrative in architecture, while it is formed in theater of space based on narration and play. There are many components in architecture that, based on Norberg Schultz’ s sense of place theory, can be combined to mise en scene to make athmospher and sense of location. This experience, in addition to the formation of spatial structure, enhances the sense of space and rhythm. The present research seeks to achieve how this function works to develop it during production and implementation. Therefore, the present research seeks to answer the following questions: How is the formation of space through the mise en scene of creation? How can the elements of narrative be transformed into sensory spaces using the mise en scene design? How to use Schultz’ s sense of location in mise en scene space to define space? In order to explain the role of mise en scene in the creation of space, due to the rich conceptual and structural studies of the field of space architecture, the Norbert Schultz sense of place theory is used and to implement the architectural harmony pattern and mise en 143 73 scene Arthur Miller’ s Death of a Salesman choosed as a case study And is analyzed according to the Norbert Schultz sense of of place theory. Ultimately, this study, with the help of Schultz’ s sense of of place theory, explores narrative-space transformation into theater using the mise en scene elements.

The Homer’ s epic (9 th Century BC) in the ancient Greece shows an epical action which is resulted from the hero’ s relation with the values and the aristocratic types that makes the hero aware of his moral action. The aristocratic-epical values, which were part of the general conscience of the Greeks, were enacted in the Constitution of Athens and exit the monopoly of the aristocracy and publicized. During the period of transition to democracy, these values which were based on the specific patterns recognized in the new law as tradition in fact the Constitution was influenced by aristocratic tradition and governed people as a general conscience. So, these aristocratic values generalized because the Constitution was formed based on tradition. And, aristocratic values were parts of this tradition. The moral patterns of aristocrats transformed to the Polis law, and citizen and governer were identified in case of implementing those patterns. Therefore when Aeschylus drawing attention to the Constitution in his tragedies, he expresses the values and epical action unavoidably. After tragedies flourishing period (5 th AD) Aristotle believed that the tragedy tells a story which causes pity and fear due to the character’ s Hamartia (tragic flaw). Tragic action implies on a story in which a character falls down because of the action he made by his flaw or unawareness and then admits his/her guilt or denies it. Such a human who is a tragic character creates a tragic situation and stay away from Polis ideal patterns and imperil the public conscience. On this basis, in this essay we will show that Aeschylus ’ tragedies with showing an action which is based on epic-legal patterns is against the tragic action and situations that are resulted from lawlessness and ignorance The epic action is done by the hero and he reveals an ideal with it. Aeschylus applies the epic action in the interest of open and legal 141 73 society and expresses hero’ s values and they were legalized Aeschylus’ stance on faults and his defense of peace and freedom in Polis, make them closer to the realm of law which resulted from aristocratic epic values. As the first tragedian, Aeschylus considers epic action to be superior to tragic action. Rather than a tragic story, the tragedy can have an epical character with an epical story. Thus, tragedy seeks for clarification and awareness and is against the tragic action which is based on fault and creating crisis by the predominance of awareness and living courageously, ignorance, lawlessness and eventually tragic situation will be vanished. Hence, Aeschylus ’ tragedies are influenced by law and epic.