Theater
Year:2019 | Volume:- | Issue:76|Papers Count:6

Marina Abramovic, a Yugoslav artist in the field of conceptual art, has been creating works of “ art” since the early 1970s. By focusing on her body as the subject and mainstream of her art, she has taken a different approach to the audience in her performances. In his phenomenology of perception, Maurice Merleau Ponty also discusses the “ other” in the context of a “ body” experience. He has been a philosopher of phenomenology and existentialism of the twentieth century and considers modern art to be the emerging world that has created a different perspective for the artist and audience. The purpose of this research is to explain the concept of the audience with the phenomenological approach of Maurice Merleoponti, based on the concepts of “ Embodyment “ and “ Other” in Marina Abramovic’ s performances, titled “ Zero Rhythm” and “ Artist Present” . Data collection was done through library resources, videos, and reputable internet sites. This research answers the question of what does the audience mean in Marina Abramovic’ s performances? The importance of this research is to create a different understanding of the concept of audiences by artists who try to position themselves in the audience instead of preparing content for the audience to change their “ level of awareness” . This further enriches the meaning and deepens the viewer-performer relationship. One of the most important findings of this study is that according to Maurice Merleoponti’ s definitions of the “ other” of the audience becomes a tool for audience action through the interplay of art and artist, and this is a factor of meaning and awareness for the artist himself.

This article intends to study Tradition, Modernity and the relationship between them in the Archaic plays of the Pahlavi era, by a dramatic model, adapted from the sociological concepts. Tradition is the continued existence of the past, in the present time, which can occur in written form. On the other hand, in third world countries, Modernity is the imitation of standards in the developed countries in various aspects of social life. Despite the initial theories about these two concepts, they are not necessarily in contrast with each other, and sometimes they can overlap. An example of this overlap can be found in nationalistic movements, one of which occurred in contemporary Iran, under the ruling of the first Pahlavi king, which lasted until 1941. This article tries to track the reflection of Tradition, Modernity and the relationship between them in the Archaic plays of the the Pahlavi era, with a descriptive and analytic method. It aims to show that in these texts, the two concepts overlap with one another. The scope of the study is limited to playwrights such as Sadegh Hedayat, Zabih Behrooz, Gregory Yeghikian, and most importantly Mirzadeh Eshghi. Malekpour identifies these writers as some of the most prominent ones of this period. This study tries to find out which dramatic aspects of Archaic plays reflect Tradition, Modernity and their relationship? It seems Traditions are reflected in aspects, such as characters, setting, and the theater language. At the same time, these texts are modern because of their literary genre, and their nationalistic theme, which entered Iran after its acquaintance with Europe. This overlap makes Archaic plays both modern and true to their Iranian Identity.

The 1950s is noteworthy both in terms of theatre-related developments and the history of theatre posters in Iran. During this period, the theatre acquired a socio-political feature and found a greater audience. Tabriz was one of the principal centers of theatre in these ages. This period was also a starting point for designing theatre posters. The purpose of this paper is to analyze the semiology of the communicational and promotional functions of theatre posters in this decade. The main issue here is figuring out a significant relationship between the content of plays and the form of 1950s posters in Iran in terms of communicational and promotional functions. The research method is descriptive-analytical and historical. The data are brought together from the library materials. The theory and methods of semiology are put in use to analyze the posters and data. In the research process, 46 posters from the 1950s Iran have been introduced, studied, and divided into four main categories in terms of the type of sign system used. Then, using the purposive and quota sampling method, one sample was selected and analyzed from each categorization, the one which fully represented the semiological characteristics of it, and also its play was available. The results showed that the two sign systems used in the design of these posters were visual signs and textual signs. The former referring to the themes of the play was convenient in the representation of the main scenes and characters. These types of signs provide the communicational function for the poster. The latter was to promote and inform the public audience about the play. These types of signs provide the promotional aspect of the design. Among the posters with predominant visual signs within the formal space, or posters with an equal share of visual and textual signs to a certain extent, the form of design is relevant to the content of the play, and the communicational function is determinant. On the other hand, among the posters in which the textual signs are predominant or those only made up of textual signs, the form of design is not necessarily relevant to the content of the play. So the promotional function of design is determinant.

Edward Brent Taylor is one of the British anthropologists who is also known as the founder of cultural anthropology. According to his most important theory, “ animism” is the root and main essence of religion which forms the basis of human belief to this day. On the other hand, puppetry, which is one of the most important elements of this magical art in various puppet shows, is formed based on the belief and imagination of the player of giving life to a puppet. It has an impact on the audience based on their belief in the animism. In this study, an attempt is made to examine the concept of “ animism” and the rules proposed by Taylor, to investigate its effect on the quality of animism and giving life to the puppet. The research hypothesis is that the “ animism” of primitive man is the basis of giving life to the puppet, which, according to Taylor’ s theory, has existed since the beginning of creation, and today this concept is seen in the puppet’ s life-giving form and affect the quality of puppetry. Also, the main question of this research is whether the “ animism” of the primitive man is the life-giving to the puppet in the contemporary world and what effect does it have on it. Based on researches conducted by religious and puppet theater scholars, this article first defines “ animism, the formation of idols and their movement” and then “ the origins of puppets and the transmission of idols to puppets are examined according to Taylor’ s pattern of evolution. ” At the end, by comparing the puppet player to the idols, the role of life-giving to objects by primitive humans is proved relying on Taylor’ s theory of “ animism” in puppetry.

This article considers Edward Bond’s Lear (1971) as an adaptation of William Shakespeare’s King Lear to investigate how Shakespearean tradition undergoes changes in Bond’ work. Since one of the aims of adaptors is to express discontent with the work they adapt, a part of adaptation studies can be concerned with the whyness and howness of making changes to the source text with the aim of imposing a certain philosophy. This approach can be applied to the investigation of the texts of both Bond and Shakespeare as each of them make significant changes to their available texts based on their unique concerns for the philosophy of human existence. This article, in addition to referring to the adaptive concerns and aesthetic qualities of Shakespeare’s King Lear, focuses on Bond’s Lear to discuss the adaptor’s protest against the handed-down Shakespearean tradition. To this end, postmodern approaches to adaptation studies as mentioned by Linda Hutcheon and Julie Sanders and Roland Barthes’ emphasis on naturalization as an ideological process are applied as theoretical framework of the study to emphasize the transition from essentialism to constructivism in Bond’s adaptation.

In the theater, improvisation is used to teach the students on the stage of writing dramatic plays, and in recent years it is also used as a spontaneous triggering element and simultaneous creativity of actors and audiences. But theater groups can be performed through improvisation. By using improvisation, these groups can achieve a structured implementation by having only one idea and a training space. For this purpose, an improvised player must strengthen his individual and group capabilities. These capabilities are absolutely essential in all areas of the theater that improvise is applied in a way that is applicable. The purpose of this article is to investigate the science of improvisation based on the principles defined for it. In this way, the Bread and Doll Theater Group, as an indicator of America’ s 60s and 70s, is being reviewed. The Bread and Dance Theater Group, with its own creative idea, with individual and group capabilities, has come up with its executive goals, which brings this perspective to Peter Schumann in this group. In general, the improviser in the theater earns six skills. Ultimately, a new scientific data will be presented in conjunction with the terms defined in the six skills of improvisation and executive elements.