Relevant bibliographies by topics / Theater – Iran

Academic literature on the topic 'Theater – Iran'

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Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Theater – Iran"

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Abdollahi, Hooman, and Seyed Babak Ebrahimi. "Modeling and Investigating the Economy and Production Structure of Iran Public Theater." International Journal of System Dynamics Applications 8, no. 1 (January 2019): 60–78. http://dx.doi.org/10.4018/ijsda.2019010104.

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Cultural productions are considered as a sign of civilization in modern societies. Theater is known as an important type of cultural productions, playing important role in the cultural economy of a society. Due to complexities of socio-economic interactions, this sector needs dynamic investigation to illuminate different aspects of possible potentials and threats. The present paper tries to find relationships between Iran public theater economy and production structure based on a dynamic model including all economic stages, namely production, distribution, and consumption to achieve a solid perception of Iran theater position. The authors use System Dynamics to create a model that can explain or mimic the behavior of the system in order to evaluate policies. Since Tehran City Theater complex is the sole place for the public theater in Iran, the authors assess it over the period 2012-2015 and predict its behavior to 2022. On the other hand, the investigation in this context is being directed in accordance with microeconomics principles. The results indicate that the position of Iran public theater is undesired due to vague managerial policy. Also, the findings offer insights into the problems and suggest practical solutions.
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Filippini, Bianca Maria. "The History of Theater in Iran." Middle Eastern Literatures 18, no. 2 (April 14, 2015): 202–7. http://dx.doi.org/10.1080/1475262x.2014.928044.

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Naqvi, Erum. "Reinventing Ruhowzi." Middle East Journal of Culture and Communication 13, no. 1 (May 13, 2020): 28–48. http://dx.doi.org/10.1163/18739865-01301002.

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Abstract In the last few years, Tehran’s arts culture has seen the re-emergence of a thriving theater scene, including experimentation with various performance practices that were restricted in public forums for several years. In this article, I address a 2017 production called Gonbadgah which is a choreographed regional ethnic dance interwoven with classical music and staged as a story inspired by ruhowzi, the erstwhile cabaret theater of early twentieth-century Iran. Offering a genealogy of ruhowzi that traces its artists from from elite performers with royal patronage to low-brow urban entertainers in Pahlavi-era Iran, in this article I situate Gonbadgah as a production that aims to revisit the art form (one that much of today’s youth culture considers dated), and reframe it, leveraging the canon of ‘high’ classical music. As such, the production aims to cut across established musical hierarchies to offer a more egalitarian view of traditional arts for contemporary audiences.
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Gluck, Robert. "The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran." Leonardo 40, no. 1 (February 2007): 20–28. http://dx.doi.org/10.1162/leon.2007.40.1.20.

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Iran in the 1970s was host to an array of electronic music and avant-garde arts. In the decade prior to the Islamic revolution, the Shiraz Arts Festival provided a showcase for composers, performers, dancers and theater directors from Iran and abroad, among them Iannis Xenakis, Peter Brook, John Cage, Gordon Mumma, David Tudor, Karlheinz Stockhausen and Merce Cunningham. A significant arts center, which was to include electronic music and recording studios, was planned as an outgrowth of the festival. While the complex politics of the Shah's regime and the approaching revolution brought these developments to an end, a younger generation of artists continued the festival's legacy.
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Taghavi, Leila. "Dramatic Elements of “Qanbar’s Elegy” Ritual in Fasa, Iran." Environment Conservation Journal 16, SE (December 5, 2015): 139–44. http://dx.doi.org/10.36953/ecj.2015.se1615.

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Theory of the origin of ritual theater is still the most credible theory on the development of drama in the world. Rituals in terms of function, construction and even implementation are very close to drama, so that at times they cannot be clearly separated. Now the question is that what are the dramatic elements of the “Qanbar’s Elegy” ritual in Fasa, Iran? The present study answered the question by referring to the history of the world and Iran. The rituals are a form of knowledge and a means of recording events and sanctities. Since the Ta’zieh of Qanbar’s Elegy unites the audience, who are also the actors, through a social and creative activity, and equalizes the individual truth of the participants with the cosmic truth, it could have the required elements of play; elements such as location, performers, dramatic movement and the audience. The present research paper has tried to review the dramatic aspects of Qanbar’s Elegy ritual in the city of Fasa in a descriptive analytical way.
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Matti, Nathalie. "Paradoxical Influence of the Islamicized School Education in Iran since the 1980s on Performance." Journal of Persianate Studies 7, no. 1 (May 12, 2014): 107–23. http://dx.doi.org/10.1163/18747167-12341266.

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Abstract After the 1979 revolution, the education system in Iran was reformed. In order to create a “new individual integrated in the Islamic society” (Paivandi, 14), at the beginning of the 1980s, the Iranian regime put the issue of learning at the center of the construction of a new society with a strong Islamic identity. The implications of the reformed school in the aesthetic field, and in particular in actresses’ performances, created very tight meshes, linking together the active and the passive learning of the Iranian population. Nevertheless, it is possible to understand its complexity through the observation and analysis of actresses’ performances in the theater and cinema, considering it as a laboratory of life that gives us access to the realm of the senses.
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Sanjabi, Maryam B. "Mardum-gurīz: An Early Persian Translation of Moliere's Le Misanthrope." International Journal of Middle East Studies 30, no. 2 (May 1998): 251–70. http://dx.doi.org/10.1017/s0020743800065892.

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Ever since the Persian intelligentsia first discovered French literature in the 19th century, it has remained fascinated with its various genres: first with the writings of the Philosophe, then with the Romantics, the roman aventure, the realists, and, in the mid-20th century, with the existentialists and the thèâtre absurde. Moliere's comedies, in particular, were the subject of great interest and the source of many adaptations in the secularizing Iran of the Constitutional period (1905–19) and the Reza Shah era (1921–41). These comedies, often staged with the government's blessing in the newly built playhouses in Tehran and other major cities, had a great impact on the ethos of the growing urban middle classes, who viewed theater-going as a chic habit with a moral essence.
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Odom, William E. "The Cold War Origins of the U.S. Central Command." Journal of Cold War Studies 8, no. 2 (January 2006): 52–82. http://dx.doi.org/10.1162/jcws.2006.8.2.52.

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During the Carter administration the Middle East and Southwest Asia became a third major theater in the Cold War struggle along with Europe and the Far East. Initially, President Jimmy Carter tried to remove this region from the Cold War competition, but the collapse of the shah's regime in Iran prompted Carter to reverse course and to build a “Persian Gulf security framework” that later allowed the United States to deal with three wars and many smaller clashes. The interagency process implementing this dramatic change was rent with clashes of departmental interests. The State Department and the military services resisted the structural changes they would later need to confront not only the Soviet threat but also intraregional conflicts. Moreover, the Reagan administration, after forcing the Joint Chiefs of Staff to make the Central Command formal, actually slowed the process of its growth, leaving it far from ready to embark on the Gulf War in 1990–1991.
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Stanfield-Johnson, Rosemary. "Babak Rahimi, Theater State and the Formation of Early Modern Public Sphere in Iran: Studies on Safavid Muharram Rituals, 1590–1641ce, Iran Studies (New York: E. J. Brill, 2011). Pp. 404. $177.00 cloth." International Journal of Middle East Studies 45, no. 2 (April 25, 2013): 400–402. http://dx.doi.org/10.1017/s0020743813000263.

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Moosavi, Marjan. "Desacralizing Whispers: Counter-Conduct in the Iranian War Theatre." New Theatre Quarterly 34, no. 3 (July 13, 2018): 235–48. http://dx.doi.org/10.1017/s0266464x18000222.

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The commemoration of sacrifice and martyrdom in the Iran–Iraq war led to dissemination of the ‘sacred defence’ culture and its theatre progeny – the Arzeshi genre, which is rooted in Shi’i religious values, Persian culture, and Iranian performance traditions. In response to this, Iranian anti-war theatre practitioners have intervened through a counter-conduct theatricality made up of characters, stories, reasoning, embodied emotions, and scenic languages. A thematic and aesthetic analysis of three stagings of the anti-war play The Whispers Behind the Front Line by the prominent Iranian playwright/director Alirezā Nāderi shows that there has been a shift over two periods of time regarding ‘disguised counter-hegemonic dramaturgy’, alternative characterization, and the ethical engagements of artists with the narrative of war. In this study Marjan Moosavi shows that theatre counter-conducts have shifted since 1995 from a realist aesthetic, reflecting a specific event – the Iran–Iraq war – to a universal, abstract aesthetic practice that sees war as a global phenomenon. Marjan Moosavi is an Iranian-Canadian PhD candidate and instructor at the University of Toronto's Centre for Drama, Theatre, and Performance Studies. She has published articles on Iranian dramaturgy and diasporic theatre in The Routledge Companion to Dramaturgy, TDR, and Critical Stages.
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Dissertations / Theses on the topic "Theater – Iran"

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Johanson, Rachel. "Let Me Be Veiled: Deconstructing Gender in Iran and the United States." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1275596670.

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Shahriari, Khosrow School of Media Film &amp Theatre UNSW. "Breaking down borders and bridging barriers: Iranian Taziyeh Theatre." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2006. http://handle.unsw.edu.au/1959.4/26310.

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In the twentieth century, Western theatre practitioners, aware of the gap between actor and spectator and the barrier between the stage and the auditorium, experimented with ways to bridge this gap and cross barriers, which in the western theatrical tradition have been ignored over the centuries. Stanislavski, Meyerhold, Piscator, Brecht, Grotowski, and more recently Peter Brook are only a few of the figures who tried to engage spectators and enable them to participate more fully in the play. Yet in Iran there has existed for over three centuries a form of theatre which, thanks to its unique method of approaching reality, creates precise moments in which the worlds of the actor and the spectator come together in perfect unity. It is called ???taziyeh???, and the aim of this thesis is to offer a comprehensive account of this complex and sophisticated theatre. The thesis examines taziyeh through the accounts of eyewitnesses, and explores taziyeh???s method of acting, its form, concepts, the aims of each performance, its sources and origins, and the evolution of this Iranian phenomenon from its emergence in the tenth century. Developed from the philosophical point of view of Iranian mysticism on the one hand, and annual mourning ceremonies with ancient roots on the other, taziyeh has been performed by hundreds of different professional groups for more than three hundred years. Each performance is a significant event in the experience of actors and spectators. The thesis argues that through a careful and comprehensive exploration of taziyeh from its emergence to our time, we can ultimately experience a new horizon in theatre in which we may discover theatrical potentiality and dynamism in a way that has not yet been achieved in conventional Western theatre.
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Fallahnejad, Naeimeh. "L'influence du théâtre français sur le théâtre moderne persan." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0218/document.

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Le théâtre persan moderne est véritablement né au XIXe siècle, avec la découverte du théâtre occidental. Les hommes politiques éclairés ont tenté de moderniser la Perse en envoyant des étudiants en France pour apprendre les sciences modernes. Rentrés au pays, ces étudiants avaient un vif intérêt pour la culture française, y compris pour le théâtre. En outre, en Perse, nous constatons également la montée d’une classe bourgeoise où se développaient des idées réformistes et néo-religieuses. C’est sur ce fond de réformes et de mutations économiques, politiques et sociales que se crée la nouvelle forme littéraire que constitue le théâtre persan moderne. Ainsi, Le Misanthrope de Molière a été traduit sous le nom de Gozâreš-e mardom goriz par Mirzâ Habib Esfahâni, un exilé politique (Istanbul, 1869), avec toutefois une grande liberté dans la restitution des noms des personnages et des traits de caractère, de sorte que le jeu était plus persan que français. En plus des adaptations directes, le théâtre persan a également été influencé par le théâtre classique français à travers les œuvres des hommes de théâtre persans comme Mirzâ Aghâ Tabrizi. Ses comédies traitent essentiellement, sur un mode ironique, de la corruption politique et des superstitions. Ces écrivains ont essayé de composer ou d’adapter des pièces modernes, généralement dans l’esprit de Molière, mettant en scène des personnages typiques, décrivant des épisodes à la fois comiques et satiriques qui témoignent d’une volonté de s’adresser à toutes les classes sociales. Étant donné ce lien évident entre théâtre persan et théâtre français, nous envisageons une analyse socio-historique des pièces persanes, surtout depuis la fin du XIXe siècle, qui souligne notamment leurs rapports avec l’œuvre de Molière, tout en mettant en évidence leurs enjeux culturels
The modern Persian theatre was trully born in the nineteenth century, thank to the discovery of the western theatre. Enlightened politicians have tried to modernise Persia, students were to be send sent to France in order to learn modern science. When these students were coming home they had a lively interest for French culture including its theatre. Moreover, in Persia, we can notice the rise of a middle class where reformist and neo-religious ideas developed themselves. This background is where economical, political and social reforms and changes emerged to create a new literary genre that is to be found in modern Persian theatre. Thus, Le Misanthrope by Molière was traduced by Gozâreš-e mardom goriz by Mirzâ Habib Esfahâni who was in a political exile (in Instanbul in 1869). Nevertheless he took great liberties in the characters’names and their personalities so that the acting was more Persian than French. In addition to direct adaptations, Persian theatre was also influenced by the Classic French theatre with the work of Persian playwrights such as Mirzâ Aghâ Tabrizi. His comedies are mainly ironic and about political corruption and superstitions. These writers tried to compose or adapt modern plays –often in Molière’s way- bringing typical characters to life, describing scenes that are at the same time comical and satirical. It was a mean a means to address their works to every social group. Because of this obvious link between Persian and French theatre. I am considering doing a socio-historical analysis of Persian plays especially from the end of the nineteenth century because they put to light the relation with Molière’s work but also highlight the cultural issues
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Khajehi, Yassaman. "L’hybridité marionnettique iranienne." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100170.

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La marionnette iranienne, par son fonctionnement, son rôle et son comportement esthétique et sociopolitique sur les scènes théâtrales et à la télévision, est un objet et une sorte de personnage hybride : tout en exhibant la nature hybride de cette forme théâtrale, la démarche marionnettique souligne le « grand » pouvoir de cette « petite » chose mineure et trouve un espace pour jouer avec ce même pouvoir. Ainsi, la marionnette en Iran, depuis au moins dix siècles, participe à un « jeu » au-delà des jeux marionnettiques, tout en résistant aux changements de la société. Elle se renouvelle donc en toute occasion et s’épanouit de nos jours tout en revendiquant à sa guise la liberté de parole et de geste. Pour saisir ce phénomène, cet ouvrage s’attache à suivre les traces de la marionnette dans la société iranienne, à partir du XIe siècle, dans la littérature classique persane au style allégorique et symbolique, puis, à partir du XVIIe siècle, dans les récits de voyageurs occidentaux. Parallèlement aux études historiques, cette thèse donne des informations majeures sur l’identité sociale de la marionnette iranienne et sur les trois techniques traditionnelles du théâtre de marionnettes. A partir du XXe siècle, la transformation, voire la mutation des formes marionnettiques iraniennes, ainsi que leur entrée à l’Université témoignent d’un renouveau à travers lequel certains sujets délicats, voire tabous, peuvent être abordés en détournant la censure
Iranian puppetry and the Iranian puppet show, it's operation, it's role and it's sociopolitical nature, on both stage and TV, is a form with a kind of hybrid character. Indeed, this approach emphasizes the power of this “small” scale theatrical art form to tackle “big” subjects, demonstrating it's hybrid nature. Puppetry in Iran, for the last ten centuries, participates in a “game” beyond the traditional marionette show, resisting change in society. However it somehow manages to renew itself on every occasion and flourish in the present, proclaiming the freedom of speech and gesture. The goal of this thesis is to grasp this phenomenon, by following puppetry in Iranian society through the ages. From the eleventh century classical Persian literature, with it's allegorical and symbolic style, onto the seventeenth century with stories of Western travelers and finally the twentieth century, where Iranian marionettes are transformed or mutated into something universal relevant to Iranian society, addressing certain touchy subjects or taboos and managing to circumnavigate censorship rules. Alongside these historical studies, this thesis describes the social identity of Iranian puppetry and the three traditional techniques of puppet theater
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Emad, Mona. "Les oeuvres théâtrales de Bahram Beyzaie : la forme traditionnelle du théâtre et sa modernisation." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30073.

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Bahram Beyzaie, né en 1938 en Iran, est considéré comme un très grand cinéaste et auteur dramatique de sa génération. Si certains de ses films sont bien connus, son théâtre est moins célèbre à l’étranger parce qu’il a été peu traduit et peu joué. Pour lui le théâtre est le lieu par excellence où renouer avec les formes traditionnelles de spectacle non pas pour les reconstituer mais pour parler au public d’aujourd’hui et lutter contre l’amnésie. Il nourrit donc ses pièces de théâtre, ses films, ses contes et ses narrations de l’héritage culturel oublié de son pays. Cette thèse propose d’examiner l’influence, dans son oeuvre dramatique, des spectacles traditionnels d’Iran tels que le Ta’zieh, le Naghâli ou l’Art du conteur, les marionnettes, la farce du Siyâh Bâzi, ainsi que la trace des mythes et de l’histoire de l’Iran. Dans tout ce qu’il écrit, une importance extrême est accordée à la langue perse utilisée avec virtuosité. De nombreux extraits d’ouvrages de recherche et de pièces sont proposés ici en traduction française. Une importante iconographie accompagne cette étude et rend compte des spectacles que Bahram Beyzaie a mis en scène. Il continue son travail artistique en Californie car il est actuellement un auteur en exil
Born in 1938 in Iran, Bahram Beyzaie is considered as a great filmmaker and playwright of his generation. While some of his films are well known, his theater is less famous abroad because it has been little translated or performed. For him theater is the place where to keep in touch with tradition, not to just preserve it, but to reach today’s public and fight against amnesia. He thus feeds his plays, his films, his tales and his narrations of the forgotten dramatic legacy of his country. This thesis proposes to examine the influence, in his dramatic work, of traditional Iranian performances such as Ta'zieh, Naghali or the Art of Storytelling, Puppet Theater and Siyâh Bâzi or Farce, as well as the traces of the myths and history of Iran. In everything he writes, a prominent place is dedicated to the Persian language used with utmost virtuosity. Many excerpts of texts on the theater and plays are here translated for the first time into French. A very rich iconography, mainly of his own staging of his plays, illustrates the study. Beyzaie continues his artistic work in California where he is presently an author in exile
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Oliaei, Shadi. "L'art du conteur en Iran : la récitation des histoires du "Sâh-nâme" dans les cafés traditionnels iraniens." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30025.

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L’art du naqqâli en Iran est basé sur une longue tradition de récits épiques portant sur des héros de la légende nationale iranienne. La principale source de ces épopées, Le Livre des rois de Ferdowsi, est un œuvre fondamentale de la culture nationale. Les conteurs professionnels «naqqâl» récitent, en les adaptant, les passages du Livre des rois pendant des heures à l’assistance dans certaines maisons de thé, plus connues sous l'appellation de cafés traditionnels. La représentation du naqqâli qui dure approximativement une heure et demi comporte trois parties d’environ une demi-heure chacune. Une session habituelle commence par une introduction poétique suivie d’une entrée en matière pour introduire l’histoire et s’achève par l’histoire proprement dite. Le début et la fin de chaque partie sont marqués par une combinaison de salavât (prière récitée en chœur) et de récitations de poèmes classiques qui ne sont pas nécessairement liés à l’histoire elle-même, mais servent en général à retenir l’attention du public pendant la représentation. Les qualités de la récitation du naqqâl reposent sur un ensemble de méthodes complémentaires permettant de donner plus de relief au spectacle : les méthodes oratoires, gestuelles et l’approche musicale. Les naqqâl utilisent les rouleaux de parchemin appelés tumâr pour préparer la représentation et s’aider pendant la récitation tout en prenant des libertés par rapport au texte dans le but de retenir l’attention de leur auditoire. Les caractéristiques formelles spécifiques de ce genre de représentation qui se rapporte à ses contraintes minimales sont : la durée fixe d’une représentation et son découpage sérialisé, l’influence plus ou moins directe de la structure du tumâr et en particulier sa division en trois niveaux d’unités structurelles : le chapitre, la partie et l’épisode
The art of naqqâli in Iran is based on a long tradition of epics involving heroes of the Iranian National legend. The main source of these epics, Ferdowsi’s Book of the Kings, is a cornerstone of the national culture. Over long hours, professional naqqâl recite passages from the Book of the Kings to the audience in tea-houses, known as traditional cafes. The naqqâli performance lasts about one and half hours and up to three parts for about half an hour each. A session usually begins with an introduction followed by a poetic prelude to outline the story and ends with the story itself. The beginning and end of each part are salavât (prayer recited in unison) and recitations of classic poems which are not necessarily related to the history itself, but in general serve the purpose of gaining the public attention during the performance. The quality of the naqqâl’s recitation based on a set of methods to give a larger dimension to the show such as: oratory techniques, gesture and musical approach. Naqqâl use parchment scroll called tumâr prepared for the performance which help with the recitation while taking liberties with respect to the text in order to attract the attention of their audience. The formal features of this type of performance which refer to its minimal constraints are : the fixed duration of performance and its serial form, the more or less direct influence of the structure of the tumâr, particularly its division into 3 levels of structural units : chapter, instalment and episode
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Emami, I. "The evolution of traditional theatre and the development of modern theatre in Iran." Thesis, University of Edinburgh, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381673.

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Stanley, Paige Graye. "Project report on Ajax in Iraq." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523223.

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This paper is presented in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre Lighting Design. This paper examines the lighting design of Ajax in Iraq. This gives the point of view of the production, the approach taken and self-evaluation of the success and failures therein.

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Lateef, Ayad Abed [Verfasser]. "Entstehung des arabischen Theaters und Rezeption des deutschen Theaters im arabischen Raum : Ägypten, Syrien, Libanon und Irak / Ayad Abed Lateef." Flensburg : Zentrale Hochschulbibliothek Flensburg, 2019. http://d-nb.info/1192393910/34.

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Al, Jumaili Abbas Kadhum. "Al Ta'azi performance in Iraq : a study of their literary, social and political significance." Thesis, University of Portsmouth, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311187.

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Books on the topic "Theater – Iran"

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The history of theater in Iran. Washington, DC: Mage, 2005.

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Mufrijī, Aḥmad Fayyāḍ. Masraḥ al-thamānīnāt fī al-ʻIrāq: Al-masraḥ fī zaman al-maʻrakah. ʻAẓamīyah, Baghdād, al-ʻIrāq: Dār al-Shuʾūn al-Thaqāfīyah al-ʻAmmah "Āfāq ʻArabīyah", 1989.

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Mufarrijī, Aḥmad Fayyāḍ. Masraḥ al-thamānīnāt fī al-ʻIrāq: Al-masraḥ fī zaman al-maʻrakah. ʻAẓamīyah, Baghdād, al-ʻIrāq: Dār al-Shuʼūn al-Thaqāfīyah al-ʻAmmah "Āfāq ʻArabīyah", 1989.

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Komödiantische Volkstheatertraditionen in Iran und die Entstehung des iranischen Berufstheaters nach europäischem Vorbild von der Jahrhundertwende bis 1978. Frankfurt am Main: P. Lang, 1993.

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A different approach to a unique theatre: Taziyeh in Iran. Kista, Sweden: Kitab-i Arzan, 2008.

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Last scene underground: An ethnographic novel of Iran. Stanford, California: Stanford University Press, 2015.

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Tārīkh-i shafāhī-i namāyish dar Īrān: Mubtanī bar muṣāḥabahʹhā-yi tārīkh-i shafāhī = The oral history of theater in Iran. Tihrān: Sāzmān-i Asnād va Kitābkhānah-i Millī-i Jumhūrī-i Islāmī-i Īrān, 2015.

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Theater state and the formation of early modern public sphere in Iran: Studies on Safavid Muharram rituals, 1590-1641 CE. Leiden: Brill, 2011.

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Tiʼātr dar asārat. 2nd ed. Tihrān: Umīd-i Āzādigān, 2004.

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Kārgāh-i Namāyish: Az āghāz tā pāyān (1348-1357). Tihrān: Nashr-i Afrāz, 2008.

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Book chapters on the topic "Theater – Iran"

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Gupta, Suman. "To Smash the Mirror: Theatre." In Imagining Iraq, 96–140. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230298118_4.

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Colleran, Jeanne. "Turning History into Happening: The First Iraq War." In Theatre and War, 29–56. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137006301_3.

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Baram, Amatzia. "Mesopotamian Inspiration in Theatre and Poetry." In Culture, History and Ideology in the Formation of Ba‘thist Iraq, 1968–89, 83–96. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21243-9_8.

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Al-Azraki, Amir, Nadia Sekran, Michael Pomerantz, and Bruce Wooding. "Banking Collapses: Transforming the Learning Environment in Iraq Through Forum Theatre." In Reimagining Research for Reclaiming the Academy in Iraq: Identities and Participation in Post-Conflict Enquiry, 25–37. Rotterdam: SensePublishers, 2012. http://dx.doi.org/10.1007/978-94-6091-897-1_3.

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Chalvatzi, A. M. "Transition from wood to iron in French theatre structures: A new construction system." In History of Construction Cultures, 669–76. London: CRC Press, 2021. http://dx.doi.org/10.1201/9781003173359-87.

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"Necro-Public and the Safavid Ritual Theater State:." In Theater State and the Formation of Early Modern Public Sphere in Iran, 235–71. BRILL, 2012. http://dx.doi.org/10.1163/9789004207561_007.

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"Preliminary Material." In Theater State and the Formation of Early Modern Public Sphere in Iran, i—xviii. BRILL, 2012. http://dx.doi.org/10.1163/9789004207561_001.

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"Introduction." In Theater State and the Formation of Early Modern Public Sphere in Iran, 1–27. BRILL, 2012. http://dx.doi.org/10.1163/9789004207561_002.

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"The Carnivalesque Paradigm:." In Theater State and the Formation of Early Modern Public Sphere in Iran, 29–81. BRILL, 2012. http://dx.doi.org/10.1163/9789004207561_003.

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"The Carnivalesque Public:." In Theater State and the Formation of Early Modern Public Sphere in Iran, 83–138. BRILL, 2012. http://dx.doi.org/10.1163/9789004207561_004.

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Conference papers on the topic "Theater – Iran"

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Kulkarni, S. G., X. L. Gao, N. V. David, S. E. Horner, and J. Q. Zheng. "Ballistic Helmets: Their Design, Materials, and Performance Against Traumatic Brain Injury." In ASME 2012 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/imece2012-86340.

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Abstract:
Protecting a soldier’s head from injury is critical to function and survivability. Traditionally, combat helmets have been utilized to provide protection against shrapnel and ballistic threats, which have reduced head injuries and fatalities. However, home-made bombs or improvised explosive devices (IEDs) have been increasingly used in theatre of operations since the Iraq and Afghanistan conflicts. Traumatic brain injury (TBI), particularly blast-induced TBI, which is typically not accompanied by external body injuries, is becoming increasingly prevalent among injured soldiers. The response of personal protective equipment, especially combat helmets, to blast events is relatively unknown. There is an urgent need to develop head protection systems with blast protection/ mitigation capabilities in addition to ballistic protection. Modern military operations, ammunitions, and technology driven war tactics require a lightweight headgear that integrates protection mechanisms (against ballistics, blasts, heat, and noise), sensors, night vision devices, and laser range finders into a single system. The current paper provides a comparative study on the design, materials, ballistic and blast performance of the combat helmets used by the U.S. Army based on a comprehensive and critical review of existing studies. Mechanisms of ballistic energy absorption, effects of helmet curvatures on ballistic performance, and performance measures of helmets are discussed. Properties of current helmet materials (including Kevlar® K29 and K129 fibers, and thermoset resins) and future candidate materials for helmets (such as nano-composites, thermoplastic polymers, and carbon fibers) are elaborated. Also, experimental and computational studies on blast-induced TBI are examined, and constitutive models developed for brain tissues are reviewed. Finally, the effectiveness of current combat helmets against TBI is analyzed along with possible avenues for future research.
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Reports on the topic "Theater – Iran"

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Moor, Donald B. Iran: Theatre Security Cooperation Plan. Fort Belvoir, VA: Defense Technical Information Center, April 2008. http://dx.doi.org/10.21236/ada484358.

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