This paper examines the characteristics of private theatre and its differences from non-private t... more This paper examines the characteristics of private theatre and its differences from non-private theatre, focusing on the formation and operation of theatre groups during the second Pahlavi period in Iran. The study reveals that during the first decade of Mohammad Reza Pahlavi's monarchy (before the 1953 coup), attempts were to privatize theatre, similar to efforts made during the Persian Constitutional Revolution. Independent political parties or groups formed and managed theatre groups to inform and educate the public. However, as soon as the government realized the impact of theatre on society, it began to use theatre as a tool for its purposes. Thus, this paper seeks to answer two main questions: 1) How did private theatre develop in Iran? 2) What were the reasons for restricting the privatization of theatre during the Second Pahlavi period? By analyzing the activities of theatre groups during four specific decades of the Second Pahlavi period, the paper concludes that governmental restrictions were not the sole reason for the failure of private theatre. Rather, the support of artists and theatre managers for these restrictions played a significant role in the failure of private theatre.
Defining the concepts of Narratology and Semiotics approach, this paper analyses the narration as... more Defining the concepts of Narratology and Semiotics approach, this paper analyses the narration aspects and plot in the narrative of "The Glass Menagerie" by Tennessee Williams. By linking these two methods together, the paper pursues two interwoven aspects of this narrative text: 1) Analyzing the relationship between narrator and audience: the narrator of this play talks directly with the audience. Hence, he blurs the fictional audience and all the spectators in the real world. Considering the pattern of "narration aspects" which is developed by Jepp Lintvelt, this paper studies this particular relationship between the narrator and the audience in the play. 2) Analyzing the plot of "The Glass Menagerie" by applying Algirdas Julien Greimas's "actantial model" and the "super-structure" plot model. This paper challenges the common belief about "The Glass Menagerie" among critics who believe this play bears a lack of complete plot. Considering two main plot lines, it is concluded that the play has a complete narrative plot.
The perceived schism between art and science has long been a subject of discussion, notably artic... more The perceived schism between art and science has long been a subject of discussion, notably articulated by C.P. Snow as the "two cultures." In his opinion, this division could be solved by creative chances. This article aims to explore the answer to this question how does the intersection of art and science become achievable? Theatre, as an art form, stands as the most compatible meeting ground between these disciplines. Examining the extensive history of theatre reveals numerous instances where theatre offers opportunities for bridging the profound gap between these seemingly disparate disciplines. This exploration categorizes this intersection into distinct levels: 1) Science plays 2) Postdramatic science plays 3) Technological theatre. Through an analysis of these levels, it becomes evident that all disciplines alternately complement and enhance one another. At the initial level, plays act as platforms to educate audiences on scientific theories, exemplified by Carl Djerassi's works. Scientific concepts, such as the uncertainty principle, also influence the construction of these plays, akin to Michael Frayn's 'Copenhagen'. The second level referred to by Kristin Shephard-Barr as ‘postdramatic science plays’ deepens the fusion of science and art. At this level, text does not play a central role in constructing the theatre, instead, the scientific theories shape the form of the performance. Scientific theories act as a blueprint for the play's structure. Furthermore, playwrights actively engage with scientists to enhance their understanding and incorporate scientific concepts into their work, such as the cooperation of Luca Ronconi and John D. Barrow. As a result, the intertwining of art and science deepens at each level, ultimately culminating in the third level: technological theatre. In technological theatre which is referred to as digital theatre in contemporary performances, technology plays a key role in the performance which necessitates the collaboration between artists and engineers. performances are regarded as a new form of art that we call “scientific art”. “scientific art” is an inseparable combination of technological science and performative arts. This level represents a direct intersection, serving as a vital bridge across the perceived cultural gap. However, the success of this evolution heavily relies on establishing a foundation of mutual cooperation and trust between artists and scientists.
تئاتر دیجیتال عبارت است از هر اجرایی که در آن فناوری رایانهای نقش اصلی را در تولید محتوا، تکنی... more تئاتر دیجیتال عبارت است از هر اجرایی که در آن فناوری رایانهای نقش اصلی را در تولید محتوا، تکنیک، زیباییشناسی یا شیوههای بیانی اجرا بازی میکند. به هر تصویر بصریای که بر روی صحنه بهصورت دیجیتالی ساخته یا دستکاری شده باشد تئاتر دیجیتال میگویند. این گونه تئاتری از حدود سه دهه پیش پا به دنیای تئاتر گذاشت و دامنهاش روزبهروز گستردهتر میشود، از تئاتر واقعیت مجازی و واقعیت افزوده گرفته تا آواتارها یا بازیگران مجازی و تئاتر سایبورگ. در مقاله حاضر، ابتدا شرح مختصری ارائه میشود از ریشههای احتمالی شکلگیری تئاتر دیجیتال در قرن بیستم: از جنبش فوتوریسم و کانستراکتیویسیم و سایر جنبشهای آوانگارد گرفته تا تئاتر چندرسانهای. سپس به معرفی و بررسی انواع اشکال تئاتر دیجیتال میپردازیم.
دیوید بارنت در این مقاله به بررسی این موضوع میپردازد که چگونه می توان یک نمایشنامه را پست درامات... more دیوید بارنت در این مقاله به بررسی این موضوع میپردازد که چگونه می توان یک نمایشنامه را پست دراماتیک دانست. او مقاله خود را با بحث از ویژگی های این سرمشق جدید شروع کرده و دو نمایشنامه را برای فهم شیوه بر هم زدن بازنمایی و ساختار زمان برگزیده است: «سوءقصدهایی به زندگی آن زن» نوشته مارتین کریمپ و «جنون 4.48» اثر سارا کین. بارنت در نتیجه گیری بحث خود به این موضوع میپردازد که محدودیت های تحمیل شده بر یک اجرای پست دراماتیک فرق دارد با آزادی تفسیری متون در تیاتر دراماتیک و بازنمایانه.
This paper figures the new principle for British modern theatre in particular, in the frame of ‘p... more This paper figures the new principle for British modern theatre in particular, in the frame of ‘post-traumatic’ history which will free all repressed traumas of history and community that is neglected by them, and be taken back to them with inherent violence of their images. Last decade of 20th century began with the harsh and brutal performances of the group of opposing young directors whom had a problem with their generation. Categorizing them in the same group, Aleks Sierz named them ‘in-yer-face theatre’. This much of violence on the stage exemplified deep traumas which were buried in the traumatic history. Sarah Kane one of the main figures of this group fulfilled the aim of political theatre by the process I borrowed from recent psychoanalytic researches. She wrote her fifth and last play, ‘4.48 psychoses’, just before her suicide in 1999. Mentioning reinterpretation of traumas after the mid 20th century, I focus on Judith Herman and Cathy Caruth’s surveys, as the members of PTSD (post-traumatic stress disorder) studies. This group has posed new definition for traumatic dreams and memories by devising the term ‘traumatic reenactment’. The victim who suffers from these kinds of dreams and memories is lack of drama. It seems part of him has died and everything has stood in that horrible moment which belongs to the past. In this sense, this singular possession by the past extends beyond the bounds of a marginal pathology and has become a central characteristic of the survivor experience of our time. Yet, what is particularly striking in this singular experience is that its insistent reenactments of the past do not simply serve as testimony to an event, but may also, paradoxically enough, bear witness to a past that was never fully experienced as it occurred. Curing these traumas, we both urgently demand historical experience. By reinterpretation of new tragedy in the frame of post-dramatic theatre we could access to a traumatic history. The relationship between community and individuals is inseparable and there will be the unity and tension simultaneously between them. By this relation the spectator acts as a witness and even victim since at the same time he was the observant of his own trauma and others too. So, the entire scene becomes traumatic reenactment of a singular traumatic event which has been fixed in the specific moment of past. By reenacting the past, each actor or spectator stays in the liminal state, as a ritual performance. This moment is the moment of pure consciousness. This will be happened by transgressing the boundaries between the Real and reality, as Jacque Lacan mentioned. Thus, this will be the reborn of the new tragedy which is happened as a tension between two senses: terror/ need. As a result, in the explosion of the Real the missing memory is transformed to narrative language which moves both groups to the shared memory, and this is the aim of political theatre. ‘4.48 psychoses’ can be an appropriate scene for representing this kind of tragedy.
Keywords: British theatre, tragedy, traumatic reenactment, Sarah Kane, 4.48 psychoses
This paper figures the new principle for post-dramatic theatre in the frame of ‘post-traumatic’ h... more This paper figures the new principle for post-dramatic theatre in the frame of ‘post-traumatic’ history which will free all repressed traumas of history and community that is neglected by them, and be taken back to them with inherent violence of their images. Mentioning reinterpretation of traumas after the mid-20th century, I focus on Judith Herman and Cathy Caruth’s surveys, as the members of PTSD (post-traumatic stress disorder) studies. This group has posed new definition for traumatic dreams and memories by devising the term ‘traumatic reenactment’. In this way, every moment of ‘now’ is the enactment of the moment of ‘past’. Curing these traumas, we both urgently demand historical experience. But how we could access to a traumatic history? Reinterpretation of new tragedy as a political theatre in the frame of post-dramatic theatre will be the answer. For this purpose, with an emphasis on ‘traumatic reenactment’ the principle of triple communication between victim, perpetrator and witness is renovated by essential tension between spectator and actor, and the inherent distance between them. So, the entire scene becomes traumatic reenactment of a singular traumatic event which has been fixed in the specific moment of past. By reenacting the past, each actor or spectator stays in the liminal state, as a ritual performance. This moment is the moment of pure consciousness. This will be happened by transgressing the boundaries between the Real and reality, as Jacque Lacan mentioned. In this level, they will be gotten the strength of talking about what they have repressed in the past. So, in this state of consciousness, both spectator/ actors will make their way to the ‘shared memory’.
This paper examines the characteristics of private theatre and its differences from non-private t... more This paper examines the characteristics of private theatre and its differences from non-private theatre, focusing on the formation and operation of theatre groups during the second Pahlavi period in Iran. The study reveals that during the first decade of Mohammad Reza Pahlavi's monarchy (before the 1953 coup), attempts were to privatize theatre, similar to efforts made during the Persian Constitutional Revolution. Independent political parties or groups formed and managed theatre groups to inform and educate the public. However, as soon as the government realized the impact of theatre on society, it began to use theatre as a tool for its purposes. Thus, this paper seeks to answer two main questions: 1) How did private theatre develop in Iran? 2) What were the reasons for restricting the privatization of theatre during the Second Pahlavi period? By analyzing the activities of theatre groups during four specific decades of the Second Pahlavi period, the paper concludes that governmental restrictions were not the sole reason for the failure of private theatre. Rather, the support of artists and theatre managers for these restrictions played a significant role in the failure of private theatre.
Defining the concepts of Narratology and Semiotics approach, this paper analyses the narration as... more Defining the concepts of Narratology and Semiotics approach, this paper analyses the narration aspects and plot in the narrative of "The Glass Menagerie" by Tennessee Williams. By linking these two methods together, the paper pursues two interwoven aspects of this narrative text: 1) Analyzing the relationship between narrator and audience: the narrator of this play talks directly with the audience. Hence, he blurs the fictional audience and all the spectators in the real world. Considering the pattern of "narration aspects" which is developed by Jepp Lintvelt, this paper studies this particular relationship between the narrator and the audience in the play. 2) Analyzing the plot of "The Glass Menagerie" by applying Algirdas Julien Greimas's "actantial model" and the "super-structure" plot model. This paper challenges the common belief about "The Glass Menagerie" among critics who believe this play bears a lack of complete plot. Considering two main plot lines, it is concluded that the play has a complete narrative plot.
The perceived schism between art and science has long been a subject of discussion, notably artic... more The perceived schism between art and science has long been a subject of discussion, notably articulated by C.P. Snow as the "two cultures." In his opinion, this division could be solved by creative chances. This article aims to explore the answer to this question how does the intersection of art and science become achievable? Theatre, as an art form, stands as the most compatible meeting ground between these disciplines. Examining the extensive history of theatre reveals numerous instances where theatre offers opportunities for bridging the profound gap between these seemingly disparate disciplines. This exploration categorizes this intersection into distinct levels: 1) Science plays 2) Postdramatic science plays 3) Technological theatre. Through an analysis of these levels, it becomes evident that all disciplines alternately complement and enhance one another. At the initial level, plays act as platforms to educate audiences on scientific theories, exemplified by Carl Djerassi's works. Scientific concepts, such as the uncertainty principle, also influence the construction of these plays, akin to Michael Frayn's 'Copenhagen'. The second level referred to by Kristin Shephard-Barr as ‘postdramatic science plays’ deepens the fusion of science and art. At this level, text does not play a central role in constructing the theatre, instead, the scientific theories shape the form of the performance. Scientific theories act as a blueprint for the play's structure. Furthermore, playwrights actively engage with scientists to enhance their understanding and incorporate scientific concepts into their work, such as the cooperation of Luca Ronconi and John D. Barrow. As a result, the intertwining of art and science deepens at each level, ultimately culminating in the third level: technological theatre. In technological theatre which is referred to as digital theatre in contemporary performances, technology plays a key role in the performance which necessitates the collaboration between artists and engineers. performances are regarded as a new form of art that we call “scientific art”. “scientific art” is an inseparable combination of technological science and performative arts. This level represents a direct intersection, serving as a vital bridge across the perceived cultural gap. However, the success of this evolution heavily relies on establishing a foundation of mutual cooperation and trust between artists and scientists.
تئاتر دیجیتال عبارت است از هر اجرایی که در آن فناوری رایانهای نقش اصلی را در تولید محتوا، تکنی... more تئاتر دیجیتال عبارت است از هر اجرایی که در آن فناوری رایانهای نقش اصلی را در تولید محتوا، تکنیک، زیباییشناسی یا شیوههای بیانی اجرا بازی میکند. به هر تصویر بصریای که بر روی صحنه بهصورت دیجیتالی ساخته یا دستکاری شده باشد تئاتر دیجیتال میگویند. این گونه تئاتری از حدود سه دهه پیش پا به دنیای تئاتر گذاشت و دامنهاش روزبهروز گستردهتر میشود، از تئاتر واقعیت مجازی و واقعیت افزوده گرفته تا آواتارها یا بازیگران مجازی و تئاتر سایبورگ. در مقاله حاضر، ابتدا شرح مختصری ارائه میشود از ریشههای احتمالی شکلگیری تئاتر دیجیتال در قرن بیستم: از جنبش فوتوریسم و کانستراکتیویسیم و سایر جنبشهای آوانگارد گرفته تا تئاتر چندرسانهای. سپس به معرفی و بررسی انواع اشکال تئاتر دیجیتال میپردازیم.
دیوید بارنت در این مقاله به بررسی این موضوع میپردازد که چگونه می توان یک نمایشنامه را پست درامات... more دیوید بارنت در این مقاله به بررسی این موضوع میپردازد که چگونه می توان یک نمایشنامه را پست دراماتیک دانست. او مقاله خود را با بحث از ویژگی های این سرمشق جدید شروع کرده و دو نمایشنامه را برای فهم شیوه بر هم زدن بازنمایی و ساختار زمان برگزیده است: «سوءقصدهایی به زندگی آن زن» نوشته مارتین کریمپ و «جنون 4.48» اثر سارا کین. بارنت در نتیجه گیری بحث خود به این موضوع میپردازد که محدودیت های تحمیل شده بر یک اجرای پست دراماتیک فرق دارد با آزادی تفسیری متون در تیاتر دراماتیک و بازنمایانه.
This paper figures the new principle for British modern theatre in particular, in the frame of ‘p... more This paper figures the new principle for British modern theatre in particular, in the frame of ‘post-traumatic’ history which will free all repressed traumas of history and community that is neglected by them, and be taken back to them with inherent violence of their images. Last decade of 20th century began with the harsh and brutal performances of the group of opposing young directors whom had a problem with their generation. Categorizing them in the same group, Aleks Sierz named them ‘in-yer-face theatre’. This much of violence on the stage exemplified deep traumas which were buried in the traumatic history. Sarah Kane one of the main figures of this group fulfilled the aim of political theatre by the process I borrowed from recent psychoanalytic researches. She wrote her fifth and last play, ‘4.48 psychoses’, just before her suicide in 1999. Mentioning reinterpretation of traumas after the mid 20th century, I focus on Judith Herman and Cathy Caruth’s surveys, as the members of PTSD (post-traumatic stress disorder) studies. This group has posed new definition for traumatic dreams and memories by devising the term ‘traumatic reenactment’. The victim who suffers from these kinds of dreams and memories is lack of drama. It seems part of him has died and everything has stood in that horrible moment which belongs to the past. In this sense, this singular possession by the past extends beyond the bounds of a marginal pathology and has become a central characteristic of the survivor experience of our time. Yet, what is particularly striking in this singular experience is that its insistent reenactments of the past do not simply serve as testimony to an event, but may also, paradoxically enough, bear witness to a past that was never fully experienced as it occurred. Curing these traumas, we both urgently demand historical experience. By reinterpretation of new tragedy in the frame of post-dramatic theatre we could access to a traumatic history. The relationship between community and individuals is inseparable and there will be the unity and tension simultaneously between them. By this relation the spectator acts as a witness and even victim since at the same time he was the observant of his own trauma and others too. So, the entire scene becomes traumatic reenactment of a singular traumatic event which has been fixed in the specific moment of past. By reenacting the past, each actor or spectator stays in the liminal state, as a ritual performance. This moment is the moment of pure consciousness. This will be happened by transgressing the boundaries between the Real and reality, as Jacque Lacan mentioned. Thus, this will be the reborn of the new tragedy which is happened as a tension between two senses: terror/ need. As a result, in the explosion of the Real the missing memory is transformed to narrative language which moves both groups to the shared memory, and this is the aim of political theatre. ‘4.48 psychoses’ can be an appropriate scene for representing this kind of tragedy.
Keywords: British theatre, tragedy, traumatic reenactment, Sarah Kane, 4.48 psychoses
This paper figures the new principle for post-dramatic theatre in the frame of ‘post-traumatic’ h... more This paper figures the new principle for post-dramatic theatre in the frame of ‘post-traumatic’ history which will free all repressed traumas of history and community that is neglected by them, and be taken back to them with inherent violence of their images. Mentioning reinterpretation of traumas after the mid-20th century, I focus on Judith Herman and Cathy Caruth’s surveys, as the members of PTSD (post-traumatic stress disorder) studies. This group has posed new definition for traumatic dreams and memories by devising the term ‘traumatic reenactment’. In this way, every moment of ‘now’ is the enactment of the moment of ‘past’. Curing these traumas, we both urgently demand historical experience. But how we could access to a traumatic history? Reinterpretation of new tragedy as a political theatre in the frame of post-dramatic theatre will be the answer. For this purpose, with an emphasis on ‘traumatic reenactment’ the principle of triple communication between victim, perpetrator and witness is renovated by essential tension between spectator and actor, and the inherent distance between them. So, the entire scene becomes traumatic reenactment of a singular traumatic event which has been fixed in the specific moment of past. By reenacting the past, each actor or spectator stays in the liminal state, as a ritual performance. This moment is the moment of pure consciousness. This will be happened by transgressing the boundaries between the Real and reality, as Jacque Lacan mentioned. In this level, they will be gotten the strength of talking about what they have repressed in the past. So, in this state of consciousness, both spectator/ actors will make their way to the ‘shared memory’.
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Papers by Niyousha Sattari
در مقاله حاضر، ابتدا شرح مختصری ارائه میشود از ریشههای احتمالی شکلگیری تئاتر دیجیتال در قرن بیستم: از جنبش فوتوریسم و کانستراکتیویسیم و سایر جنبشهای آوانگارد گرفته تا تئاتر چندرسانهای. سپس به معرفی و بررسی انواع اشکال تئاتر دیجیتال میپردازیم.
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Keywords: British theatre, tragedy, traumatic reenactment, Sarah Kane, 4.48 psychoses
در مقاله حاضر، ابتدا شرح مختصری ارائه میشود از ریشههای احتمالی شکلگیری تئاتر دیجیتال در قرن بیستم: از جنبش فوتوریسم و کانستراکتیویسیم و سایر جنبشهای آوانگارد گرفته تا تئاتر چندرسانهای. سپس به معرفی و بررسی انواع اشکال تئاتر دیجیتال میپردازیم.
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Keywords: British theatre, tragedy, traumatic reenactment, Sarah Kane, 4.48 psychoses