• TRANSFORMATION OF THE FOUND ENVIRONMENT IN PERSIAN PASSION THEATRE

 

Zahra Fuladvand, Judit Csanadi 

 

This article participated in the international conference Dramatic Architectures Theatre and performance in the motion organised by centro Estudos Arnaldo Araujo of Escola Superior Artistica do Porto, held in Porto, ESAP, NOVEMBER 18-20, 2020
The abstract could be find in below:

 

Throughout theatre history, before the architectural and rigid separation between auditorium and stage, many performative events such as celebrations, religious rites and annual festivals were held in the outdoor found environment - in the street, private houses or taverns. What is now called environmental theatre was once part of a long tradition that had its roots in the European medieval theatre and numerous examples of non-western, eastern theatres such as Persian passion theatre.    
Any natural environment preserving its original function without being changed into a fixed stage or a theatre building could be called the found environment. This outdoor found environment was the space that established a relationship between a man and the culture where they both participated in molding each other. It was the space where concepts of how they related and should have related to themselves, to one another and to the world were explored and celebrated. There are many examples of performative events happening in the found environment, but this research paper will examine an old, traditional type of theatre that happens every year at Muharram festival in Iran, in the social found environment.

 

Keywords: found environment, found audience, Persian Passion Theatre, Ritual.

 

 

 

 

 

  • DECONSTRUCTION READING OF AKROPOLIS PERFORMANCE

 

Zahra Fuladvand, Shirin Bozorgmehr

 

This Article published in Performing art and music magazine, MagIran, 2013


The abstaract could be find in below:

 

This research is going to study Akropolis performance by post structuralism perspective. Akropolis was directed by Jerzey Grotowski, famous polish director who is indubitably one of the most prominent theatre Directors and theorists in the second half of the 20th century. He has an important role in progression of experimental theatre and actor training techniques over the past decades. Akropolis was adapted from the Stanisław Wyspiański’s dramatic epic poem which was written between 1903 and 1904. The Main Play [Wyspiański’s poetic drama] was set on the night of Easter Saturday when Sculptures and paintings in the Wawel cathedral in Kraków were coming to life. The main theme of Akropolis is resurrection, considered not only as salvation from death, inertia and forgetting, but also as a task given to each human being. Grotowski performed Akropolis in Auschwitz. He changed the location of events to Auschwitz in order to find out how far Classic idea of human magnanimity could resist in new Era of Post-war tensions and decadence. The characters of performance constructed crematorium ovens from customs and iron rust which was located within the Auschwitz. Performers in this performance are both slaves in Auschwitz and famous historical characters such as Jacob, Helen, and Paris. Although this performance shows the ancient mythical story, the meaning of them is unclear. For instance, Christ is a doll and Paris fall in love with Helen as far as Helen is man. As all the performers are signs, they make an implementation system. In this system there is no final object so performance shows the absent of life with showing the existence of life. Characters in Acropolis are signs, which are moving in the space between two worlds, war camp and mythology world, since there is no center and signified, imply to each other. They have the spur of each other and Take part in the free play of signs and signify to each other. This implication system in the Akropolis performance was deconstructed based on Derrida philosophical theories. Conflicts and confrontations in the performing technique of Akropolis make a complex implication system, which postpone meaning and inception for the audience. Since the theater is based on the principle of delayed and differentiation, the meaning is always delayed. This qualitative study is descriptive and analytical. It surveys the performance theme by Derrida’s structuralism perspective. Some of the main aims of this research are to study Derrida’s deconstruction theory, survey the implementation of meaning and facts in Akropolis performance, to discover how implication deconstructed in Akropolis. Since the ‘threshold’ is one of the most important Components of Derrida’s theories, omparing the relationship between characters which were in threshold of crematorium ovens in Akropolis and Jacob threshold position in “battle between Jacob and angel” (one of the mythical story in performance) is the other significant aim of this article. In crossing the threshold, the only important thing is the energy of moving and in the view of Derrida this energy is meaning.


https://www.magiran.com/paper/1355877?lang=en