هنرهای زیبا- هنرهای نمایشی و موسیقی
سال:2012 | دوره: | شماره:

myths were created over the course of history by common people and during the past few centuries were used by sociologists and psychologists to study the primitive and quasi civilized societies. After the scientific and sociological developments of the 18th and 19th centuries in Europe, many poets, playwrights, authors, and other artists started to employ their personal and innovative techniques instead of following their Greco-Roman predecessors. These innovations achieved popularity by the end of 19th century. However, the realism of the literary figures and artists in the second half of the 19th century led to a sense of boredom and exhaustion in their audience which resulted in the emergence of alternative schools such as symbolism and surrealism. With the emergence of social media in the 20th century, we witness a development of public information. Many European authors have been busy rewriting myths. The 20th century witnessed an increasing significance of theoretical foundation of mythology in anthropology, archeology, literature and arts; more notably the reexamination of myth in different theories is emerging again. Researchers have proposed a variety of definitions of myth based on works done on sociological, anthropological, psychological, traditional and various structural approaches and functional backgrounds. Each has offered a definition of myth according to his own personal and ideological understanding and characteristics and finally based on his cultural beliefs. This paper uses Jung’s ideas which form the theoretical foundation for our analysis of Le Visage d’Orphée by Olivier Py. Jung defines myth as a reproduction of universal human archetypes and leads literary critiques in deciphering and applying these archetypes in literature. Olivier Py is one of these writers who as a member of this literary/ mythological movement that was closely tied to dramatic literature of ancient Greece inspired by Greek mythology, created plays with religious themes as Le Visage d’Orphée. Py’s religious tendencies are clearly exposed in his other works as well. The story of Orphée is one of the most mysteriously of Greek myths which influenced the early Christianity. The most important event in Orphee’s life is going down to spirits’ world to bring back his beloved wife, Oridis, who has been killed by a snake, up to earth. In this paper, we first offer our definition of myth, then we move on to archetypes and their application, and then we introduce Orphee the renowned Greek myth. And finally, we will analyze the play Le Visage d’Orphée by Olivier Py. The method in writing this paper is analytical, using resources like books and essays, as well as field research, including interviews with Olivier Py, writer of Le Visage d’Orphée.

theatrical works of art related to Iraq & Iran war are refered to as the genre of “The Sacred Defense Theatre”. Although various organizations were established to support these works but this genre have not been produced continuously.Indeed, the Sacred Defense Theatre is a kind of war theatre that not only deals with themes, situations, events and characters of war but also reflects moral and religious values, and heroic actions and sacrifice of Iranian militants and people. This definition is rooted in the belief that sacred defense because of its religious base values (Ashoora) is different with common wars. Even though, application of the term “theatre of war” for this kind of theatre could mention on some part of dramas and performances in the area but it doesn’t involve doctrinal content and series of symbols, characters and special language which just could be studied in the Sacred Defense area. Sacred defense theatre has been prominent in two periods of time since beginning the war: 1) from beginning to the end of war (1359-1367). In this time. sacred defense theatre appeared in different forms: A) in rears and cities B) in fronts; 2) from end of war till today. In first years of war, sacred defense theatre mostly were performed in form of propaganda. In this time, dealing with themes about the war was more important than artistic and technical aspects of dramatic works.Characterization and creations of new characters in dramatic works of sacred defense theatre gradually have been developed from last years of war till mid-1370. New Characters were in different forms such as: injured in war, released prisoners of war, families of martyrs, lost and... in the second part, from mid-1370 till today, linguistic matters, dialogue writing, new themes specially social and political criticism have been emphasized. Foundation for Preservation and Publication of Values from 1369 and The Revolution and Sacred Defense Theatre Association from 1375 started their activities to improve qualitative and quantitative level of sacred defense theatre works by holding festivals and planning for producing the plays. The article analyzes functions and activities of The Revolution and Sacred Defense Theatre Association and tries to answer following questions: “Despite the presence of some organizations to support, produce and perform sacred defense theatre why these theatres have not continued in performance? ” and “What problems and barriers have been raised about producing and public performance of sacred defense theatre? ” Finally, we focus on activities of The Revolution and Sacred Defense Theatre Association from 1378 to 1387 in three different domains of planning, producing and anniversary report to make certain norms for evaluating these activities.This article concludes that main problems in producing sacred defense theatre are lack of certain strategies; weak management and planning; unrealized projects and stoppage of investment. We propose some solutions such as semi-governmental process of producing and supporting the active groups. The authors use relative statistics, charts and graphs to analyze quantitative data in order to prove their hypothesis.

an attempt is made here to analyze and transcribe two pieces for solo Oud by Jalal ed-Din Ormawi, a 13th-century Iranian musician, which has been originally transcribed in “Abjad” system of notation. Using such terms as “Mujannab”, “Mutlagh” and “Tarigh” in the titles of these pieces is an eloquent instance of a different style of titling as compared to his other pieces. Considering the principle that the title reveals the rhythmic pattern of the melody and the modal structure of the piece, the estrangement of using the two terms “Mujannab”and “Mutlagh” to title pieces in the newborn“systematic” school leads on the assumption that these two pieces are of a different essence. This article seeks to uncover the true ideology behind these two pieces through analyzing and transcribing them under the modern system of notation. In that way the meaning of the terms “Mujannab”, “Mutlagh” and “Tarigh” such as well known rhythmical patterns “Ramal” and “Thaghil al-Awwal” are the main items of this research. The methodology to this end calls for reference to prominent historical literature in diverse and variant treaties and studying other secondary related official articles such as those by E. Neubauer and O. Wright. To demonstrate the 6. tetrachord spices, namely «6.Mawajib», Jalal ed-Din himself combines Oud frets as an alternative old traditional way in “Risala al-Sharafiye”. This practical method reminds us of the modal terminologies such as “Mutlagh”, “Mazmum”, “Mahmul”, … based on the position of the left hand fingers on Oud frets as used by the wellknown Iraqi and Egyptian musicians Hasan Ibn al-Katib and Ibn al-Tahhan al-Musighi in the 11th century.However, in the treaty “Adab al-Ghina”, Ibn al-Katib describes the “three Genera” in the same way as Farabi in “Musighi al-Kabir”. The combination of the principle of the 4. Modes (Asabi’ al-Arbi’) and the modification of the melody throw the “three Genera” prove the identity of the prototypes showed in resolution with the “6. Mawajib”.It is now clear that discussing unknown Oud melodies survived from the old Arab school of using practical method of modifying the melodic modes is based on fingerings on the Oud frets and old terminologies like “Mujannab” and “Mutlag”. Also, modal definitions of the two pieces are related to the descriptions of the “6. Mawajib” given by Jalal ed-Din himself. Furthermore the term “Tarigh” sets its roots in an old persian musical method of composing named “Rah”. Yet the transcription of the“Abjad” system to the modern notational style and analysis of the modal structures fails to clarify the exact relation between the meaning of the terms“Mujannab”, “Mutlaq” and the pieces’ content. It is finally concluded that these two pieces originally come from some old Arab schools of music. Also the descriptive function of these titles, especially in the rhythmic patterns, is made clear with still uncertainty of the functionality of the terms “Mujannab”and “Mutlagh” in describing the modal and melodic structure and is applied to the piece only based on assumptions.