Sacrificing is one of the oldest rites that has been noticed by religions and nations. Throughout the ages, human beings have tried to obtain the satisfaction of the gods and to protect from the anger of them by giving gifts and sacrificing. The aim of the present article is to analyze "the myth of sacrifice" in the screenplays and plays of Bahram Beyzai. Beyzai has an extensive knowledge about myths and has used a variety of them to write his literary works. In his writings, he has used "the myth of sacrifice" in two ways. First, throughout a story, he has explicitly spoken about the ritual of "myth of sacrifice" in various forms and for various purposes. Second, he has created screenplays or plays that "hero-sacrifice" is the main character of them. And sometimes, this creative writer uses both ways. In the present article, the play Kalat Claimed and screenplays The Tales of Mir-e Kafanpoush, The land, Talhak and the Others and The Scrolls of Sheikh Sharzin are analyzed. The results of the research show that Beyzai uses a variety of sacrifices, such as bloody-human, bloody-animal, and unbloody (drinks) sacrifices. In his narratives, he divides the purpose of sacrificing into three types: for atoning, for imploration and for thanksgiving. Also, "hero-sacrifice" has a significant presence in his works.

There is an impressive variation in the subjects and the themes of Bahram Beyzai's works. To create his literary works he uses different literal techniques that are going to be explained in present study besides reviewing, analyzing and categorizing his fictional topics.24 Beyzai's literary works including 13 screenplays, 8 plays and 3 barkhanies (loud verbal narrating) have been reviewed in present study through an analytic-descriptive method, in a way that the topics have been used by Beyzai are determined, initially, and then each of them are analyzed presenting some specific instances. Beyzai's favorite topics generally include national, social, historic and religious subjects and protesting cinema. He has displayed different spaces in his works, although he has paid more attention to social and national issues and has created numerous works in these fields. To bring these social themes up he benefits several artistic techniques such as “adaptation from ancient texts”, “allegory” and “utilization of public literary abilities”.

The concept of diegesis (telling or recounting a story) originally appeared in Plato’ s thesis as opposed to mimesis (showing or enacting a story). In the current era, the notions of diegesis and mimesis, developed as key elements for differentiating verbal narratives from drama, have been reconsidered by narratologists who argue that in a play, an actor presents the sequence of events that is generally mediated through a given narrator in a fiction. In Stage Fright: Modernism, Anti-Theatricality, and Drama (2002), Marin Puchner coined the term “ digetic theatre” . Digetic theatre focuses on a type of theatre that uses narrative and discourse techniques to deviate the audience’ s attention from actors’ performance to words. Puchner uses this term to illustrate descriptive and narrative solutions that have played notable roles in confining, leading, and neutralizing direct theatricality of stage and actors in modern drama. In Iranian drama Beyzai, Influenced by his knowledge of Ta’ ziyeh, tried to reshape local plays and turn them into stage drama for which he benefitted from Persian storytelling traditions. His main concern was to establish Persian drama on the local traditions. Starting his theatrical activities, he attempted to maintain the fine literature of epic poetry by relying on poetic and elevated discourse. The present study explores the process of diegetic language as the pivotal discourse of Naghali and Ta’ ziyeh’ s turning into the Beyzai’ s works. The diegetic and story features of his works will be analyzed by elements such as narrative intermediators, character, action, and setting and their evolution. This study exemines that Beyzai’ s early works, it means Se Barkhani (Three Recounting), have story and diegetic nature by following elements such as narrative intermediator, character, action, and place/space. With these features, these works cannot rightly be considered to be plays, and the title the writer himself has chosen for his works as “ Barkhani” (recounting) is obviously an indicator of this nature. On the one hand, these works reflect the rhythm and richness of the epic poetry in the form of prose, and on the other hand they represent the storytelling of the oral tradition of Naghghali in written form as drama. In Soltan Maar (Serpant the King), he returns to a story atmosphere in which time and place/space easily change, characters change their roles, and whenever actors find it difficult to perform an action they simply present it to the audience in words. Finally, Khaterat-e Honarpishe-ye Naghsh-e Dovvom (Memoirs of the Actor in a Supporting Role) can be classified under “ digetic theatre” . Mimesis and imitation are not neglected in these works, and action, sound, and image are not marginalized from the text for the sake of dialogue-as it is with closet drama. On the contrary, this play is good example that indicates the presence of all the visual and mimetic elements in digetic form. In other words, in the battle between imitating and telling, telling is dominant.

BACKGROUND AND OBJECTIVES: Layered stylistics as a branch of modern stylistics in which the structural and content role and value of the works in five phonetic, lexical, syntactic and semantic layers are used to show the ideology governing the text and using this method, the text is free from confusion and There is a semantic interference. In this article, the eighth journey of Sinbad is a play by Bahram Bayzaei as a creative writer, based on the layered stylistic component, and we determined how he was able to bring out the aesthetic effects of this work of art with various stylistic techniques and literary techniques, and also how By analyzing the stylistic basics in different layers, one can understand the intellectual messages governing the text of the work. METHODOLOGY: The descriptive-analytical method and based on the library sources of Sinbad"s 8th voyage is investigated using layered stylistic components and intratextual evidence. FINDINGS: The main character of the story reaches the level of knowledge and self-awareness by going through hard experiences from the stage of ignorance and unconsciousness. That is, in a way, it is the process of self-knowledge and recognition of phonetic rhythms and musical repetition of syllables and words with high frequency to produce rhythmic and poetic prose in this play. CONCLUSION: By combining old and new language, narrative expression, rhetorical effects, objective and subjective images, types of norm avoidance, defamiliarization, etc., Baidaei created a new style as an individual style with the title of poetic plays and fine artistic prose, and also not only this work His drama, but all his drama works are the best example to explain the components of layered style.

Patriarchy, in its diverse practices, such as public or private practices, is a key concept in feminism. Feminists believe that in a male-dominated society, men are in authority over women and women are subordinated. They believe that the masculine oriented tendencies in a male-dominated society are repeatedly reproduced. According to feminists, the causes of women’ s subversion in the patriarchal society are men’ s greater access to power structures, the unequal distribution of social privileges and inappropriate relations between men and women. The male-controlled society constructs women’ s subjugation, and makes it possible for men to turn to mischievousness in different practices. Patriarchy is an important issue in literary texts and many literary works, especially drama, have been written to depict this. In the beginning, women wrote about patriarchy, however, later, some male writers joined the movement and wrote about it. Bahram Beyzaie is one such author in our country. He is a highly praised Iranian dramatist, and theatre director, whose plays display women’ s subordinated position and the discriminating stance of male-dominated society against women. Bahram Beyzai is a playwright who is preoccupied with the condition of women in a patriarchal society. Protagonists of his plays are female characters. They rebel against the established norms of patriarchal society. They fight in their own ways to gain their own proper dignity. Two main issues of his plays are gender inequality and differences in women and men’ s social roles. Beyzai is a skilled playwright who has been cherished for his style of untainted Persian writing and for picking out Persian sagas and legendary figures. The purpose of this paper was to explore the position of female characters in Bahram Beyzai’ s selected plays. The selected plays of the paper-Parde-Khane, Pahlavan Akbar Dies, Death of Yazdgerd and Wail (Nodbeh) have been explored through a descriptive-analytical approach. The patriarchal system in Parde-Khane, makes women renounce their true identity by giving new names for them. In Pahlavan Akbar Dies, the life of Pahlavan Heidar’ s mother is the genuine saga of mothers in our society. Her life portrays the doom and spitting image of all mothers of the community. She lives only for her son. The story of Death of Yazdgerd is based on the slaying of Yazdgerd the Third, the last king of Sassanid Empire. Yazdgerd the Third who is severely pressured by the Arabs on the western border of Iran, escapes to Marv, shelving in disguise in a mill and eventually is slain by the miller. The story is expressed in the words of the miller, his wife and his daughter; all stories are different. In Wail (Nodbeh), Obidollah, a male character, is representative of a social system in which all ruthless features of the patriarchal system are gathered in his presence. The exploration of the selected plays reveals that Bahram Beyzai has depicted the components of patriarchy, its influencing factors, the expansion of patriarchy, and different means of women’ s struggle to emancipate them from the domination of patriarchal system.

The word "Rend" has been used in Persian language from long times ago and it has many positive and negative meanings in old literature. Hafez, contradictory to most of his antecedent poets, does not have a shallow and negative assessment of "Rend” and in contrary, he announces them as anti-hypocrite, perplexed, rebellious and truth-seekers who generated several individual and social revolutions in a hard unsociable way. Many Hafez researchers see this concept as his most important intellectual achievement. Based onthe result of these features, we can indicate activism of "Rend" as a theatrical character. Bahram Beyzaei (a play writer whose attention to ancient literature can't be denied) is a fitting choice for following this concept, as it maybe the heroic and revolutionist morale of his work in association to myth and ancient patterns confirms enigmatic, rebellious and frenzy nature of his characters. In this article, in addition to indicating aspects of "Rend" and "Rend-goonegy" in "Ghazaliat of Hafez" and discovering the essence of this concept, it will be analyzed in “ Three Puppet Plays” of Bahram Beyzai.

The present research aims to apply Gilbert Durand's mythological criticism to Bahram Beyzai's dramatic works, including playwrights and screenplays, in order to uncover the underlying mythological pattern. The task was accomplished by utilizing the method of mythological analysis. It involved carefully studying the author's significant work, and identifying the principal sub-myth present in his works. In addition to analyzing the text and metatext (such as exploring the sub-myth present in other works by the author, studying his personal-professional life, and assessing his personal complex), a psychometric approach was employed to uncover his personal and extra-personal myth. The findings of the research indicate that the principal sub-myth in Beyzai's works revolves around several key themes: studying the past to shape the future, battling against oppression and ignorance that hinder the growth of the homeland's fertility, and being willing to sacrifice oneself if necessary to achieve this fertility. Furthermore, the priority of life over death and femininity as the source of life are significant aspects of this sub-myth. Beyzai's personal complex, described in the language of Jacques Lacan, involves a fixated state and difficulties transitioning from the imaginary to the symbolic realm. Lastly, his personal myth can be associated with the goddess Anahita.

Studying and analyzing the ways of rewriting and recreating in Bahram Beyzai’s literary works is the main goal of this paper. He is a norm-breaker author who destroys the reader’s mental and language structures and defaults. The plays, scripts and narrations which are analyzed in this article are Azhdehaak, Arash, Ahu, Salandar, Talhak va Digaran, Pardeye neiy, Siavash Khani, Shabe hezar-o Yekom and Majlese Ghorbaniye Sennemar. At first, in this research, Beyzai’s descriptive-analytical ways are introduced, and then these ways are analyzed in Beyzai’s works. The ways are generally as follows: 1. recreating an old work on two levels: “changing the plot” and “changing the dutifulness of characters,” and 2. rewriting an old work in some ways by “adding dialogue between characters”, “suggesting cause and effect relation” and “changing the ways of narration.”

The purpose of this paper is the hypertextual study of the compound metamorphosis myths in Bahram Beyzai's plays based on the theory of Gérard Genette. Hypertextuality is one of the types of Genette' transtextuality, which represents the connection between two texts. This theory expresses the effectiveness and derivation of the hypotext on the hypertext and includes two basic types, imitation and transformation. The compound metamorphosis myths are considered to be one of the most important surprising elements in the literature. In metamorphosis, creatures transform from one form to another and in the combined structure, creatures are represented as a composite of humans, animals, etc. Literature is considered as the origin of the presence of myths which both impress mutually on each other. This connection provides an opportunity to study them with respect to the theory of hypertextuality. The results of this study reveal that these creatures exist in eighteen plays written by Beyzai, and their existence is inspired by mythological literature, folk tales and heroic poems. In the process of turning mythological narratives into plays, Beyzai has been loyal to the main themes and has often used them directly. The methodology of this paper is descriptive-analytical, and based on the qualitative content analysis, the features of the compound metamorphosis creatures have been identified in Beyzai's plays and according to the theory of hypertextuality, the interactions of the plays with ancient literature have been studied.

With the victory of the Islamic revolution and despite the change the laws and the desire for freedom, film censorship has been applied to Cinematic works. In this article, the censorship ratio of prominent films of the 1980s, including the works of prominent directors: Dariush Mehrjui, Bahram Beyzai and Abbas Kiarostami, with the administrative law of the 1980s, was analyzed and judged. At the beginning of the revolution, in the years 1979 to 1991, when the new legal system was being established and stabilized in the country, regulations were implemented in the field of cinema and film censorship, and the films of the aforementioned filmmakers were subject to censorship. For example,"The school we went to" by Mehrjui because of the criticism of the existing conditions using historical similes, "Bashu, the Little Stranger" by Beyizai due to the use of woman artist and her central role and showing a different image of the holy defense."Homework" by Kiarostami due to its critical portrayal of the education system. But the result of comparing the film censorship with the legal standards indicates that the censorships that were conducted did not comply with the administrative law, there were unreasonable objections, and the Censors of that decade, with extra-legal criteria and expediency, ruled on the censorship of these works. Therefore, the regulations for monitoring film screenings approved in 1965 and 1983 have been violated. This reduced the working life of these cinematographers and changed the direction of their filmmaking.