The Proposed Theory to Study Applications of Video Art in Set Design

Abstract— Studying video art is one of the new paths that those interested in contemporary majors of figurative arts could benefit from it in creating visual arts. In addition, studying video arts in facilities and the applications of vide art in stage design could be considered as a textbook for university students; that is, this research in fact introduces the categories of stage design in contemporary arts based on benefiting from video equipment and in general, new technology. Each performance has a structure made of symbols and elements that is able to change the design structure organization in drama in different forms; on the other hand, it could serve important changes of classic performance in picture frame stages, black box and environmental stages. It seems that the role of video art could have considerable flexibility in theater; because it could be used both as a dramatic element and as a symbol in stage design

A CRITICAL RESEARCH OF THE ECLECTIC THEATRES

This study mainly focuses on how plot expression is originated from eclecticism of two different forms, namely Iranian traditional theater form and Western theater one. According to morphology theory of Iranian theater the ninth form, i.e. "eclectic theater", was chosen and analyzed in Iranian plays.<br>The form and content of eclectic plays of 1981-2001, above all, are analyzed; then, after the selection of a considerable number of such works, the concept of "researching criticism" of eclectic form in Iranian theater literature is paid attention to. ..

Boria in Malaysia

Abstract—This article is investigating Boria which is a kind of common performance in Malaysia. Boria has been known as Boria and Borea and both are correct, but Boria is more common. Boria is a folk performance unique to Penang. This theatre style reached Penang in the mid-19th century and is believed to be derived from the Shia Islamic Passion play performed during the Muslim month of Muharram to commemorate the martyrs of Kerbela. These days in Malaysia (especially Penang) Boria mentions to a choral street performance performed annually by a number of groups composed mostly of Sunni Malaysian. Boria are performed for entertainment and often include an annual singing competition. The size, membership, themes and movements of each Boria troupe may vary from year to year. Similarly, the themes and contents of the Boria performed by the different troupes also changes each year and can have a comical, political or satirical notion. It is common to most groups during the first ten days of Muharram Boria generally is done

Eclecticism in Iranian Dramatic Art (گزینش در آمیزی در هنر نمایش)

Since in post-revolution years the inclination toward traditional forms (types of traditional theater) has increased, some of playwrights have tried to create, by integrating one or more elements in each theater form, their own eclectic form. Quality and quantity of this process is a noteworthy subject in the history and critique of contemporary theatre literature. ..

Eclecticism in Drama

Eclecticism as a theatrical form was developed particularly by two directors: Max Reinhart, and Yevgeny Vakhtangov. Orghast, Conference of the birds and Mahabharata by Peter Brook are some examples of eclectic theatre in the West. Eclectic theatre is a kind of new theory in postmodern theatre studies which can be manifested in connection with theatre activities of Iran

New Approach of Critical Theories of Eclecticism Theatre

The present article which is written about “New approach of Critical Theories of Eclecticism Theatre in Iran” contains a new section on Theatre Studies, especially the dramatic literature. However, it is noteworthy that the current study is the starting point in this field trying to be of use in spreading knowledge and intelligence about Eclectic Theatre. Therefore, conducting research on the Iranian eclectic theatre can be considered as a recent phenomenon as being involved with Iranian theatre is a current issue. ..

Reflection on Ingroup and outgroup on Shakespeare’s Works

Abstract- <div>https://malaya.academia.edu/DrFaridehAlizadeh/Conference-Presentations<br></div

When the attraction of Ta’ziyeh is diminished

<div>Currently, different theatrical styles and methods</div><div>are intermingled without regards for the limits</div><div>and boundaries, which are manifested in a</div><div>performance. Subsequently, in the contemporary</div><div>setting, many directors and playwrights have been</div><div>influenced by the form and content of Ta’ziyeh</div><div>and apply it in their work. They have brought these</div><div>elements of Ta’ziyeh and combined them with</div><div>Western influenced theatre styles to create a new</div><div>genre of works. This new style is known as “eclectic</div><div>theatre” that is a new style in postmodernism</div><div>which can be manifested in connection with</div><div>theatre activities of Iran.</div><div>To that end, the current research and its</div><div>subsequent argument rely on the significance,</div><div>both historical and moral on the dramaturgy</div><div>around the tragedy of Veda-e Yaran (To observe</div><div>the ceremonies of farewell), “A lonely person’s</div><div>story” (Majles-e Gharib-e Tanhayee) and Namira</div><div>(Immortal).</div

Research Analysis in Eclectic Theory (Kaboudan and Sfandiar)

<div></div><div>P</div><div>resent research investigates eclecticism in Iranian </div><div>theatre on the basis of eclectic theory. Eclectic theatre is a new theory </div><div>in postmodernism. The theory appeared during 60th – 70th century in </div><div>some theatres such as “Conference of the Birds”. </div><div>Special theatrical forms have been developed in many </div><div>geographical- cultural areas of the </div><div>world and are indigenous to that </div><div>area. These forms, as compared with original forms, are considered to </div><div>be traditional while being comprehensive, the form is considered to </div><div>be national. Kaboudan and Sfandiar theatre has been influenced by </div><div>elements of traditional form of Iran.</div

Ta'ziyeh-influenced Theatre

Specific theatrical forms have been developed in many geographical-cultural areas of the world which are indigenous to those areas. Ta’ziyeh is a kind of comprehensive indigenous form considered as being the national form of Iranian theatre which have pervasive influence in the Iranian works of drama and play. It originates from some famous mythologies and rites such as Mithraism, Sug-e-Siavush (Mourning for Siavush) and Yadegar-e-Zariran (Memorial of Zarir).