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.
Full textShahriari, Khosrow School of Media Film & 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.
Full textFallahnejad, Naeimeh. "L'influence du théâtre français sur le théâtre moderne persan." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0218/document.
Full textThe 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
Khajehi, Yassaman. "L’hybridité marionnettique iranienne." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100170.
Full textIranian 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
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.
Full textBorn 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
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.
Full textThe 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
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.
Full textStanley, Paige Graye. "Project report on Ajax in Iraq." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523223.
Full textThis 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.
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.
Full textAl, 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.
Full textNajmi, Fahimeh. "L'identite nationale et le théâtre en Iran (sous le règne des Pahlavi)." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030053.
Full textWhile the traditional Iranian performances have been, in the late years, an object for theatre studies, notably outside of Iran, research on « Theatre in Iran » is still to be developed.This study zooms on a crucial period in contemporary Iranian history, when in a verycomplex context the earnest endeavours of three specialists, Mir Seyfeddin Kermanshahi, Abdolhossein Noushin and Shahin Sarkissian, succeeded in launching a theatre that, claiming the status of art, out passed the boundaries of plain entertainment or pure propaganda and wasable to consider the fundamental questionings of the Iranian people and notably the question of identity.The determining factor to be considered in their enterprise is doubtlessly their Occidental formation, in Russia and in France, and their confrontation with the European movement of Art Theatre
Staszel, John Paul. "Muscular Otherness: Performing the Muscular Freak and Monster." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245266700.
Full textButler, Jayna D. ""You've Got to Be Carefully Taught": Reflections on War, Imperialism and Patriotism in America's South Pacific." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3812.
Full textPetr, Radovan. "Městské divadlo v Kuřimi." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-227681.
Full text"Translating Tomb Dwellers for USAmericans: What the Process of Translation Reveals About Counter-Censorship Strategies Among Theatre Artists in Iran." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.54849.
Full textDissertation/Thesis
Doctoral Dissertation Theatre 2019
Mamdoohi, Nikoo. "Adapting for a New Audience: Ta'zieh-Between Two Rivers." 2018. https://scholarworks.umass.edu/masters_theses_2/732.
Full textShohadaei, Setareh. "The biopolitical theatre: tracing sovereignty and history in the 2009 Iranian show-trials." Thesis, 2011. http://hdl.handle.net/1828/3511.
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