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Journal articles on the topic 'Theater – Iran'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Jogschies, Bärbel, and Anke Stöver-Blahak. "Ein performatives Konzept im Fremdsprachenunterricht – In 14 Schritten zur eigenen Inszenierung." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 2 (July 1, 2014): 75–83. http://dx.doi.org/10.33178/scenario.8.2.6.

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Wichtig in der Vorbereitung ist die Fokussierung auf thematische Schwerpunkte, die Auswahl von Schlüsselszenen. Die Erschließung des literarischen Werkes geschieht deduktiv, das heißt vom Detail schrittweise zu einem sich mehr und mehr zusammenfügenden Gesamtbild. Der Ausgangspunkt kann ein thematischer oder ästhetischer sein. Bei der Beschäftigung mit Dea Lohers Am schwarzen See zum Beispiel begannen wir mit der Wahrnehmung der unvollständigen Sätze und der fehlenden Interpunktion und schlossen daraus auf eine Stimmung. Bei den Nibelungen war der Beginn das Motiv des Fremdseins in der Figur der Brunhilde. Wichtig ist, dass der Ausgangspunkt genügend Raum für Identifikation oder Distanzwahrnehmung der Lerner*innen bietet. Diese didaktische Arbeit in der Seminarkonzeption gleicht der Lesartfindung zu einem Stück im Theater. Sie ist in aller Regel ein langer Prozess der Auseinandersetzung des Regieteams zu einem Inszenierungsansatz, aus dem sich die Besetzung, die Bühnenbildidee und die Strichfassung erst ergeben. Dieser Ansatz muss immer wieder am Stücktext auf seine Richtigkeit hin überprüft werden und belegbar sein. Schlüsselszenen und Figureninterpretationen ergeben sich aus diesem Ausgangspunkt heraus. Studierende aus verschiedenen Ländern (Korea, China, Iran, USA, Russland, Frankreich, England etc.), mit unterschiedlichen Muttersprachen und verschiedenen Studienfächern kommen zusammen. Namen müssen gelernt (und gesprochen) werden. Von Beginn an werden die Tische beiseite geräumt. ...

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12

Malpede, Karen. "Theatre of Witness: Passage into a New Millennium." New Theatre Quarterly 12, no. 47 (August 1996): 266–78. http://dx.doi.org/10.1017/s0266464x00010265.

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Karen Malpede's monologue, ‘Baghdad Bunker’, whose origins in an experience of vicarious empathy she describes in the following article, was first performed by Ruth Maleczech at La Mama in June 1991. It subsequently became the centrepiece of Malpede's play Going to Iraq, about life in New York during the Gulf War. Later, in The Beekeeper's Daughter, she addressed our lack of empathy in the face of ‘racial cleansing’ in the former Yugoslavia. Here, Karen Malpede uses both this latter play and a play by the dissident Croatian playwright Slobodan Snajder, Snakeskin, as examples of an approach to writing and experiencing plays she calls ‘theatre of witness’ – in which the witnessing imagination affirms connections ‘based upon the human capacities to experience compassion and empathy for the self and for the other as powerful, motivating forces’. Karen Malpede is a widely performed and published American playwright and director, currently with the Theatre Three Collaborative in New York, where she also teaches at NYU's Tisch School of the Arts. Her People's Theater in America (1972) was a seminal study of its subject, as was her Women in Theater (1984) of the feminist theatre aesthetic.

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13

Westgate, J. Chris. "David Hare's Stuff Happens in Seattle: Taking a Sober Account." New Theatre Quarterly 25, no. 4 (November 2009): 402–18. http://dx.doi.org/10.1017/s0266464x09000682.

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As The Power of Yes, the third play by David Hare to document recent history, opens at London's National Theatre, J. Chris Westgate examines in this article Hare's Stuff Happens in a regional production in the United States, at Seattle's A Contemporary Theater in 2007. He tracks the emphasis placed on controversy during the advertising and marketing of the play, which stands in direct contrast to the response to the play, which was received with self-satisfaction rather than increased insight in this highly liberal city. From this contrast, he discusses the way that this production of Hare's play – and the play itself – fails to produce controversy because it never holds those actually attending US productions as accountable for the Iraq War. Controversy, then, becomes a marketing device rather than a way of challenging the status quo. J. Chris Westgate is Assistant Professor in English and Comparative Literature at California State University, Fullerton. He has recently edited an anthology of essays entitled Brecht, Broadway, and United States Theatre and has published articles in Modern Drama, Theatre Journal, and The Eugene O'Neill Review.

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14

Paterson, Doug. "Street Theatre East of Eden: The 10th International Street Theatre Festival in Mariwan, Iran." TDR/The Drama Review 62, no. 1 (March 2018): 182–90. http://dx.doi.org/10.1162/dram_a_00731.

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15

Kobialka, Michal. "Tadeusz Kantor and Hamed Taheri: Of Political Theatre/Performance." TDR/The Drama Review 53, no. 4 (November 2009): 78–91. http://dx.doi.org/10.1162/dram.2009.53.4.78.

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Is political performance still viable? Kobialka shows how Iranian theatre director Hamed Taheri—influenced by Polish avantgarde artist Tadeusz Kantor—develops a new kind of radical theatre/performance using actor-immigrants from African nations, Chile, Afghanistan, and Iran.

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16

Krivolapov, O. O. "Debates on the Role of the US Theatre Missile Defense in Regional Deterrence of Russia and China." Moscow University Bulletin of World Politics 13, no. 1 (April 7, 2021): 58–84. http://dx.doi.org/10.48015/2076-7404-2021-13-1-58-84.

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Studies on missile defense, both in Russia and abroad, have been tradition- ally focused either on capabilities of the US national missile defense system to parry Russian or Chinese strategic nuclear forces, or on regional deter- rence of North Korea and Iran by means of regional missile defense (theater missile defense, TMD). However, the 2019 Missile Defense Review (MDR) emphasized the role of the TMD systems in the regional deterrence of the Russian Federation and China. So far this issue has received little attention and this paper aims to fill that gap. The first section identifies the key points of the MDR concerning the capabilities of regional missile defense for regional deterrence of the major nuclear powers. The author also examines the views of different represen- tatives of the US Department of Defense on this issue, and concludes that the US military-political leadership has a generally positive assessment of the capabilities of the TMD systems to contain Russia and China in case of a regional crisis. In particular, planners emphasize the role of the regional missile defense in countering the ‘anti-access/access-denial’ capabilities and the concept of ‘escalate to de-escalate’ ascribed to Russia. At the same time, US policymakers express in that regard serious concerns about Russia’s and China’s progress in the development of hypersonic missile systems. The second section examines the ongoing debates in Western expert so- ciety on the role of the regional missile defense in terms of deterring Russia and China. The author concludes that in this respect experts can provisionally be divided into two groups. The first group generally supports the arguments of the US military-political leadership and is optimistic about TMD capabili- ties for regional deterrence of Russia and China. The second group is more critical of these capabilities. They point out the lack of accurate data on the combat capabilities of such systems in active warfare and criticize question- able theoretical assumptions of their opponents. The third section provides a critical analysis of the arguments presented in this debate. The author concludes that the current concepts of deterrence based on the use of regional missile defense systems do not fully address possible implications for regional security and strategic stability. The Russian Federation and China possess significant nuclear arsenals, which already make nuclear escalation involving these countries and the United States possible. Adding yet another variable (TMD) into this equation only aggravates the situation.

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17

Zh., Seitmetova. "The establishment of the Iraq theater." Journal of Oriental Studies 80, no. 1 (2017): 96–101. http://dx.doi.org/10.26577/jos-2017-1-812.

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18

Penet-Astbury, Helen. "Rough for theatre I and II and why they stayed that way, or when Beckett's french theatre became irish again." Études irlandaises 33, no. 2 (2008): 125–33. http://dx.doi.org/10.3406/irlan.2008.1843.

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19

Yeghiazarian, Torange. "Dramatic Defiance in Tehran." TDR/The Drama Review 56, no. 1 (March 2012): 77–92. http://dx.doi.org/10.1162/dram_a_00144.

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20

Ataie, Iraj Jannatie. "Poems." Index on Censorship 17, no. 9 (October 1988): 30. http://dx.doi.org/10.1080/03064228808534537.

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Iraj Jannatie Ataie (b. 1947), renowned in Iran as a poet, playwright and songwriter, was imprisoned under the Shah and is now in exile from the Khomeini regime. He lives in Britain, where several of his plays have recently been staged to great critical acclaim. Prometheus in Evin, staged in Farsi at the Royal Court in London last year, was hailed by The Guardian as ‘a brilliant and compelling universal story … which must place [Ataie] in the forefront of international playwrights today’. The play, which examines with ruthless honesty the lot of. the intellectual under repressive regimes, has now been produced in English (in Ataie's own translation) by the Mazdak Theatre Group (Young Vic Studio, 3–22 October 1988). A benefit reading of Ataie's poems, in aid of the Kurdish refugees, will be held at the Young Vic on 16 October 1988. The poems below were written in English.

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21

Etienne, Anne. ""England's trouble is Ireland's opportunity" : Blanco Posnet à l'Abbey Theatre." Études irlandaises 33, no. 1 (2008): 83–98. http://dx.doi.org/10.3406/irlan.2008.1823.

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22

Paterson, Doug. "Three Stories from the Trenches: The Theatre of the Oppressed in the Midst of War." TDR/The Drama Review 52, no. 1 (March 2008): 110–17. http://dx.doi.org/10.1162/dram.2008.52.1.110.

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From Israel, Liberia, and Iraq, where conflict and war are the rule, come stories about performances and workshops in the tradition of Augusto Boal's Theatre of the Oppressed. The author found both strengths and limitations in Forum Theatre.

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23

Salih, Elaff Ganim, Hardev Kaur, and Mohamad Fleih Hassan. "David Hare’s Stuff Happens a Dramatic Journey of American War on Iraq." International Letters of Social and Humanistic Sciences 67 (March 2016): 57–69. http://dx.doi.org/10.18052/www.scipress.com/ilshs.67.57.

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The war launched by America and its allies against the country of Iraq on 2003 was a debatable and notorious war for the public opinion was shocked with the realization that the reasons for launching the war under the title ‘Iraq’s Mass Destruction Weapons’ were false. The tragic consequences of this war led many writers around the world to question the policy of the United States and its manipulation of facts to justify their narratives. The present study examines the American policy of invading Iraq in David Hare’s Stuff Happens. It investigates Hare’s technique of combining documentary realism with imaginative reconstruction of the arguments to dramatize the American Invasion of Iraq. Stuff Happens is a historical and political play written as a verbatim theatre. It depicts the backroom deals and political maneuvers of the Bush administration in justifying their campaign against the ‘Axis of Evil’ culminated by the war against Iraq. The verbatim theatre is the best way of showing the gap between ‘what is said and what is seen to be done’. Scenes of direct speeches by real characters are part of this theatre dramatized to present a new reading of a historical event. In addition, characterization is used by Hare’s to chronicle the American war on Iraq. The study follows a postcolonial framework. The study concludes that Hare’s Stuff Happens succeeded in shaking the public opinion with the truth that Bush’s administration has manipulated facts in order to achieve their colonial and imperial interests in Iraq, which led to more destruction and violence in this country.

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24

Tsar'kova, Elena Gennadievna, and Esmail Auday Fadhel Khalel Al. "TAZIYE RITUAL THEATRE IN THE IRAQ CULTURE." Manuscript, no. 4 (April 2019): 126–30. http://dx.doi.org/10.30853/manuscript.2019.4.26.

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25

Harding, James M. "From the Editor." Theatre Survey 45, no. 1 (May 2004): 1–2. http://dx.doi.org/10.1017/s0040557404000018.

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We open this issue of Theatre Survey with Marvin Carlson's essay on how the events of 9/11 and the subsequent wars with Afghanistan and Iraq have affected New York theatre. At the core of Carlson's essay is a very subtle depiction of theatre forced by world events to contemplate anew its understanding of history and its understanding of the role that theatre has to play in history. Carlson's essay offers us an image of theatre communities that, in their responses to the deeply troubling events of the past two and a half years, have struggled to understand whether theatre is outside or inside of history, that is, whether theatre is “somehow out of place in a situation of real crisis and suffering” or whether it can be an actual force of change. At one level, then, Carlson's essay is significant because it illuminates how acts of terrorism and acts of war force theatre to return to the most basic questions about its function in society at large. Those questions serve as our point of departure because their answers change with history.

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26

Holt, G. Richard. "Repair of Facial Fractures in the Iraq War Combat Theater." JAMA 298, no. 24 (December 26, 2007): 2905. http://dx.doi.org/10.1001/jama.298.24.2905.

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27

Bromberger, Christian. "Ta’zie (Religious Theatre) vs. Noruz (the New Year and its Rituals)." Ethnologies 36, no. 1-2 (October 12, 2016): 129–40. http://dx.doi.org/10.7202/1037603ar.

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Above and beyond a legitimate concern with preserving intangible cultural “treasures” and “masterpieces,” what are the extra-heritage issues that tend to slip beneath UNESCO’S applications for recognition and listing? Through an examination of recent projects presented by Iran, the author proposes to carry out a modest ethnography that addresses the meaning of these applications, ethnography being in the words of Clifford Geertz (Geertz 1983: 152), “an enterprise […] whose aim is to render obscure matters intelligible by providing them with an informing context.”

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Xydakis, Michael S., Michael D. Fravell, Katherine E. Nasser, and John D. Casler. "Analysis of Battlefield Head and Neck Injuries in Iraq and Afghanistan." Otolaryngology–Head and Neck Surgery 133, no. 4 (October 2005): 497–504. http://dx.doi.org/10.1016/j.otohns.2005.07.003.

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OBJECTIVE: At the time of this study, the 1st place that an injured or ill American soldier in Iraq or Afghanistan would have been evaluated by an ENT–head and neck surgeon was at a tertiary care medical center as a result of air evacuation out of theater: Landstuhl Regional Medical Center (LRMC), Ramstein, Germany. By examining the ENT-related diagnoses of all air evacuations from downrange, we were able to match the patients classified as having battle injuries to determine the percentage with head and neck trauma. STUDY DESIGN: A prospective review of 11,287 soldiers air-evacuated from Afghanistan and Iraq, representing the 1st year of combat operations. A new, computerized patient-tracking system was created by our team to merge several disparate databases to generate and compile our data. RESULTS: The ENT–head and neck surgery department evaluated and primarily managed 8.7% of all patients evacuated out of theater by air to Germany. Other medical and surgical services managed 7.3% of all patients evacuated out of theater with overlapping ENT diagnoses. The number of potential ENT patients increased to 16% when one looked at all head and neck pathology instances seen by all medical and surgical departments hospital-wide. Of all patients air-evacuated and classified as having battle injuries, 21% presented with at least 1 head and neck trauma code. CONCLUSIONS: This is the 1st paper focusing on the role of the ENT–head and neck surgeon in treating a combat population and also the patterns of illness and head and neck injuries in a deployed force in our modern military. Improved soldier body armor has resulted in distinctly new patterns of combat injuries. Unprotected areas of the body account for the majority of injuries. SIGNIFICANCE: These findings should be used to improve the planning and delivery of combat medical care.

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Collinet, Annabelle. "Performance Objects of Muḥarram in Iran: A Story through Steel." Journal of Material Cultures in the Muslim World 1, no. 1-2 (February 9, 2021): 226–47. http://dx.doi.org/10.1163/26666286-12340010.

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Abstract Some Muḥarram ceremonies in Iran today, such as taziyeh (ritual theatre) and dasteh (procession), often involve metal artifacts. They are commonly made of steel (mainly armor elements, arms, sculptures, and vessels). Many objects of similar types, generally without any historical data on their original contexts, are preserved in Islamic art collections. The present research proposes to identify these objects as Muḥarram performance objects. Based on two large collections (Paris, Musée du Louvre and Musée des Arts Décoratifs), this article aims to relocate them in their likely ritual contexts, especially those developed in the late Qajar period (from 1850 onward), and to look further into the past of their Safavid (1501–1722) models. Made of forged steel and inlaid with precious metals, these productions from the late Safavid period to the present day suggest the durability of some models with a strong visual identity and highlight the recurring use of this metal in Shiʿ⁠a devotional art in Iran.

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30

Hossein Esmkhani, Amir. "Iran – Infrastructure, historical and current developments in performative pedagogy." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (July 1, 2016): 99–106. http://dx.doi.org/10.33178/scenario.10.2.9.

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Theatre and other forms of art have played an unarguable part in the formation of cultures and civilizations all around the world. There is some proof that performance began even before language was invented by man. In their rituals and traditions, our earliest ancestors used their body to convey messages and performed rituals on different occasions. The history of our culture and civilization is replete with various forms of art and performance narrating the stories of generations. From mothers’ bedtime stories to religious ceremonies, for a wide range of purposes, art in general and performance-based art in particular gave shape and meaning to human’s everyday life experiences. This article will present an overview of the history of performative arts in Iran, how it has come to contribute to foreign language teaching, and outline its limitations and future projections. Performative arts have a rather long history in Iran. In one of the most authoritative books on Iranian Performance Tradition, William O’Beeman (2011) presents the rich “tapestry” of Iranian traditional performance which took root many centuries ago, before Iran came into contact with the West. He believes that those who are not familiar with Iranian culture may be truly surprised to discover ...

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31

Khani, Somayeh. "The Struggle to Remain Independent in the Privatized Theatre of Iran: An Interview with Tehran Independent Theatre Director Mostafa Koushki." Contemporary Theatre Review 30, no. 4 (October 1, 2020): 535–45. http://dx.doi.org/10.1080/10486801.2020.1812589.

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32

Young, Stuart. "Playing with Documentary Theatre: Aalst and Taking Care of Baby." New Theatre Quarterly 25, no. 1 (February 2009): 72–87. http://dx.doi.org/10.1017/s0266464x09000074.

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The coinings of ‘verbatim theatre’ and the ‘testimony play’ have added new factors to any consideration of documentary drama. It is a form that has been proliferating recently, whether in enacted judgements of public policy – privatization of the railways in David Hare's The Permanent Way, the invasion of Iraq in Called to Account at the Tricycle – or in exploring the ‘truth’ about more private issues. In the following article, Stuart Young questions whether the form is appropriate to the discovery of such ‘truth’, but finds that two recent works in the genre, Aalst and Taking Care of Baby, have effected a more complex and reflexive intervention by emphasizing the process of writing or reporting, thereby drawing attention to the methods of construction in documentary theatre and to the problematic issues inherent in those methods. Stuart Young is Associate Professor and Co-ordinator of the Theatre Studies programme at the University of Otago. He has published on Chekhov in performance abroad and rewritings of the plays, New Zealand drama, and gay and queer theatre, and also translates Russian and French drama. He is currently working on a documentary theatre project on family violence in New Zealand.

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Howe, Steven, and Clotilde Pégorier. "Law, Narrative and Critique in Contemporary Verbatim Theatre." Pólemos 14, no. 2 (September 25, 2020): 385–405. http://dx.doi.org/10.1515/pol-2020-2023.

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AbstractThe present article undertakes an interdisciplinary inquiry into contemporary British verbatim theatre as a site of interplay between law, art and politics. Focusing on the example of Matt Woodhead and Richard Norton-Taylor’s 2016 play Chilcot, documenting the public inquiry into the UK’s role in the 2003 Iraq war, the authors explore the work as a space of legal and political critique, and ask how the specific theatrical and narrative affordances of the verbatim form shape its critical substance.

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Ball, James R., and Gelsey Bell. "“What Was the War Like?”: Experiencing Surrender; Talking with Josh Fox." TDR/The Drama Review 56, no. 2 (June 2012): 56–80. http://dx.doi.org/10.1162/dram_a_00167.

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International WOW Company's Surrender combines elements of avantgarde performance, dramatic karaoke, and audience participation to create an immersive portrait of urban combat and communicate the challenges soldiers face reintegrating into civilian life. Director Josh Fox reflects on making theatre out of the experience of being a soldier in 21st-century Iraq.

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Larson, Gerald E., Paul S. Hammer, Terry L. Conway, Emily A. Schmied, Michael R. Galarneau, Paula Konoske, Jennifer A. Webb-Murphy, Kimberly J. Schmitz, Nathan Edwards, and Douglas C. Johnson. "Predeployment and In-Theater Diagnoses of American Msilitary Personnel Serving in Iraq." Psychiatric Services 62, no. 1 (January 2011): 15–21. http://dx.doi.org/10.1176/ps.62.1.pss6201_0015.

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Murdock, Alan D. "Experience at the 332nd Air Force Theater Hospital: Evacuation Hub for Iraq." Journal of Trauma: Injury, Infection, and Critical Care 62, Supplement (June 2007): S19. http://dx.doi.org/10.1097/ta.0b013e3180653ea4.

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Noda, Manabu. "The Body Ill at Ease in Post-War Japanese Theatre." New Theatre Quarterly 23, no. 3 (August 2007): 272–82. http://dx.doi.org/10.1017/s0266464x07000176.

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Many theatre pieces in Japan now focus on a certain type of physicality which results from the sense of unease present in Japanese society. Manabu Noda argues that the senses of estrangement, distrust, apathy, helplessness, and incongruity in this supposedly democratic country come partly from the macho pressures under the right-wing Koizumi administration of 2001–06, and examines some current Japanese performances in the context of Japanese post-war society and of the continuing conflict in Iraq. He explores how these performances stage the body ill at ease – perceived as something irrevocably ‘left behind’ physically rather than textually. Manabu Noda is former general secretary of the Japan Centre of the International Association of Theatre Critics, and presently holds the position of Professor in the School of Arts and Letters at Meiji University in Tokyo. A theatre critic, he has also published books and essays on British and Japanese acting and theatre history. The present paper is based on a presentation in October 2006 at the conference ‘Foundation and Horizon of Hong Kong Performing Arts Criticism’, organized by the International Association of Theatre Critics in Hong Kong, and on a shortened version presented at the IATC 2006 Extraordinary Congress in Seoul.

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Carlson, Marvin. "9/11, Afghanistan, and Iraq: The Response of the New York Theatre." Theatre Survey 45, no. 1 (May 2004): 3–17. http://dx.doi.org/10.1017/s004055740400002x.

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Clearly the attacks of 11 September 2001 served as a defining moment in the contemporary American political, social, or cultural imagination, and led directly to the invasion of Afghanistan and the far more controversial invasion of Iraq. Both wars were brief, the modest forces of these countries quickly capitulating to the overwhelming military superiority of Western forces, headed by the United States. On 1 May 2003, President George Bush announced victory and the end of the war in Iraq. Although the much more difficult and complex problems of occupation and pacification clearly will continue for some time, 1 May may be taken to have marked an end of a major phase in the crisis that was initiated on 9/11.

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Shevtsova, Maria. "Teatr ZAR's Journeys of the Spirit." New Theatre Quarterly 29, no. 2 (April 29, 2013): 170–84. http://dx.doi.org/10.1017/s0266464x13000274.

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Teatr ZAR has been developing its Gospels of Childhood triptych since 2003, when the company was founded after several years of research in Armenia, Iran, and Georgia. It was in Georgia that ZAR learned polyphonic songs from the Svan oral tradition, which it developed in its unique song theatre. In this article Maria Shevtsova maps the first of a series of expeditions, the latter notably including Greece, Corsica, and Sardinia. She describes how the ancient hymns and chants gathered through direct oral transmission (ZAR's choice of material reflects its interest in the songs of early Christianity) provide the subject matter and the spiritual dimension of the group's performance pieces. The idea of the ‘spiritual’ is here distinguished from the strictly religious/denominational as well as the ritualistic or cultic framings of the word. Details from the triptych show how breath, vibration and energy are the forces of ZAR's sonic compositions in which singing, instrumental music, sound making, and movement are vehicles for experience other than immediate material sensation. Reference is made to ZAR's link to the Grotowski legacy in the song theatre of Poland today. Maria Shevtsova, Chair Professor of Drama and Theatre Arts at Goldsmiths, University of London, wishes to thank the International Research Centre of the Freie Universität Berlin for hosting her research, of which this article is an integral part.

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O’Dell, Emily. "Performing Trans in Post-Revolutionary Iran: Gender Transitions in Islamic Law, Theatre, and Film." Iranian Studies 53, no. 1-2 (May 20, 2019): 129–64. http://dx.doi.org/10.1080/00210862.2019.1572498.

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Wilson, Alex D. "Exception and the Rule: Agamben, Stuff Happens, and Representation in the Post-Truth Age." New Theatre Quarterly 36, no. 1 (February 2020): 56–72. http://dx.doi.org/10.1017/s0266464x2000010x.

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The contemporary post-truth environment imposes limitations and ethical consid erations upon the political theatre-maker’s ability to highlight political leaders’ exceptional acts of deception. By unpacking and applying Giorgio Agamben’s writing on the State of Exception to post-truth political performances, Alex D. Wilson discusses in this article how political deception is an exceptional act of sovereign power and how the state of exception is an inherently performative phenomenon. The inherent challenges this state of affairs presents to the theatre are discussed with particular reference to David Hare’s Stuff Happens (2004), which, it is argued, falls into its own state of exception in terms of its approach to truth. Alex D. Wilson is a PhD candidate in Theatre Studies at the University of Otago, who recently completed an MA which explored ethical authorship of British theatrical work produced in response to the 2003 Invasion of Iraq. He is the artistic director of Arcade, a Dunedin-based performing arts company.

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Leach, Robert. "The Short, Astonishing History of the National Theatre of Scotland." New Theatre Quarterly 23, no. 2 (May 2007): 171–83. http://dx.doi.org/10.1017/s0266464x07000073.

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The National Theatre of Scotland was constituted in 2003, following a debate in the newly devolved Scottish Parliament. Its first artistic director was appointed in 2004, and its inaugural production was presented in February 2006. Within another year, some twenty productions had been seen in over forty urban and rural locations – a rate of development in marked contrast to the slow crawl over more than half a century towards a National Theatre in London. Personal and political drive apart, a major reason for the speed with which the National Theatre of Scotland has not only established itself but gained respect far beyond national boundaries is the simple fact that it does not possess a theatre building, so that all its work must of necessity tour nationwide – or involve co-productions with building-based companies. Home, the opening event, was in fact a multiplicity of different shows tailored to ten different locations; later work has ranged from the classic Mary Stuart to Anthony Neilson's surrealist Wonderful World of Dissocia, from a reinvention of Macbeth to Gregory Burke's astonishing Black Watch, which interweaves the history of the famous but doomed Scottish regiment with the raw actuality of young soldiers serving in Iraq. In this article, based on a paper presented to the fourth Forum for Arabic Theatre in Sharjah in January 2007, Robert Leach surveys both the brief history of the company and the highlights of its prolific first year's work. Robert Leach lives in Scotland but teaches in England, at Cumbria Institute of the Arts in Carlisle. His latest book is Theatre Workshop: Joan Littlewood and the Making of Modern British Theatre, published by Exeter University Press in 2006.

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La Rosa, CPT Rene De. "Reflections on Suffering and Culture in Iraq: An Army Nurse Perspective." International Journal of Human Caring 11, no. 2 (March 2007): 53–58. http://dx.doi.org/10.20467/1091-5710.11.2.53.

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The United States Army (U.S. Army) has a fine tradition of providing healthcare on the battlefield. In March 2003, the United States military (U.S. military) entered the Iraqi theater of operations. Included in the military package were medical “assets” dedicated to sustain the health of the military fighting men and women, as well as the health of Iraqi detainees. Detainee medical care was a completely new setting where American nurses had not practiced before but where they were vitally needed. The purpose of this article is to describe the broad themes of suffering and healing at Abu Ghraib Internment Facility in Iraq and the mutual culture shock experienced by both sides of the war effort.

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Martin, Terry. "Anaesthetic and Intensive Care Reservists Support during the Iraq War." Journal of the Intensive Care Society 4, no. 2 (June 2003): 40–41. http://dx.doi.org/10.1177/175114370300400204.

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By mid January 2003, dozens of doctors, nurses and medics across the Country had received notification of call-up for military service in support of Operation Telic, popularly known as Gulf War 2, the war on Saddam Hussein's Ba'ath party in Iraq. Anaesthetists, intensive care nurses and theatre staff were amongst those who put on uniform and took up arms in support of regular medical personnel in the three services.

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SHEM-TOV, NAPHTALY. "Performing Iraqi-Jewish History on the Israeli Stage." Theatre Research International 44, no. 3 (October 2019): 248–61. http://dx.doi.org/10.1017/s0307883319000294.

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The analysis of the following two Israeli plays is the focus of this article: Ghosts in the Cellar (Haifa Theatre, 1983) by Sami Michael, and The Father's Daughters (Hashahar Theatre, 2015) by Gilit Itzhaki. These plays deal with the Farhud – a pogrom which took place in Iraq in 1941, in which two hundred Iraqi Jews were massacred by an Iraqi nationalist mob. The Farhud has become a traumatic event in the memory of this Jewish community. Using the concept of ‘performing history’ as advanced by Freddie Rokem, I observe how these plays, as theatre of a marginalized group, engage in the production of memory and history as well as in the processing of grief. These plays present the Farhud and correspond with the Zionist narrative in two respects: (1) they present the traumatic historical event of these Middle Eastern Jews in the light of its disappearance in Zionist history, and (2) their performance includes Arab cultural and language elements of Iraqi-Jewish identity, and thus implicitly points out the complex situation of the Arab–Israeli conflict.

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AL-KUBAISI, Iman Abdul Sattar Atallah. "MENTAL CATHARSIS IN CHILD THEATER PERFORMANCES." RIMAK International Journal of Humanities and Social Sciences 03, no. 04 (May 1, 2021): 22–33. http://dx.doi.org/10.47832/2717-8293.4-3.3.

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In the twenties of the twentieth century there appeared a tendency declaring that art has a major task is to cleansing reality from everything that seems strange to it. But this proposition took another characteristic of the German director and writer (Berthold Brecht) after he initiated a revolution that declared its rejection of the previous concepts of theater and Aristotelian drama in the introduction of alienation in his theatrical doctrine, which was later called (dialectical theater), This is a shift towards another concept of purification that goes beyond the emotion towards addressing the mind and changing ideas, so Brecht has a different function to theater, which is to change and reject the miserable and revolutionary reality. In child theater performances, the research problem was formed in the following question: What are the representations of mental cleansing in child theater performances? As for the objectives of the research, it is represented by (revealing the concept of mental cleansing, and revealing representations of mental cleansing in child theater performances). The current research was determined by child theater performances in Iraq for the period from (2010-2020) that take mental cleansing as its goal. As for the second chapter, it focused on three axes. The first was philosophical mental cleansing, while the second axis was concerned with the philosophical foundations of the Barkhati approach, while the third axis focused From the theoretical framework on the Westernization of Berthold Brecht. As for the third chapter, it was clarified that the researcher adopted the descriptive approach (the method of content analysis) being more appropriate to the current study procedures, which dealt with the research community represented by the presentations that were made for the period between (2009-2018) in Baghdad, which reached (16) theatrical performances. After the sample was randomly selected by lot, it was (a little chalk circle) play. After analyzing the sample, the results of the research were extracted, which are responsible for answering the objectives of the research and the extent of their achievement. The first goal was achieved through what was reviewed in the theoretical framework and what was extracted from it. As for the second goal, which aims to reveal the representations of mental cleansing in theatrical performances directed at the child, it was achieved after analyzing the selected sample, and the results appeared as follows: 1. All child theater performances that follow the Brachitic approach aim at mental cleansing. 2. Mental cleansing occurs in child theater performances when the following methods are employed that keep the child mind attentive and critical, including: First / at the level of the text 1. Using the heritage and being inspired by it as a theatrical template for contemporary events through the style of history, and not committing to a Space-time through this history. 2. The necessity of the presence of the narrator who tries to break the hierarchy of events by narrating and commenting on some events, as well as employing songs and music that differ from the general atmosphere of the event. Second / at the level of the show 1. Using the scene through symbolic, not realistic, signs to keep the actor away from any reincarnation that casts its shadow on the audience through theatrical infection. 2. Not to adhere to the timing of lighting. 3. Using shadow imaginations or movies and pictures in conveying the event. 4. Westernization of performance by leaving space between the character and the actor

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Baker, Monty T., John C. Moring, Willie J. Hale, Jim Mintz, Stacey Young-McCaughan, Richard A. Bryant, Donna K. Broshek, et al. "Acute Assessment of Traumatic Brain Injury and Post-Traumatic Stress After Exposure to a Deployment-Related Explosive Blast." Military Medicine 183, no. 11-12 (May 18, 2018): e555-e563. http://dx.doi.org/10.1093/milmed/usy100.

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Abstract Introduction Traumatic brain injury (TBI) and post-traumatic stress disorder (PTSD) are two of the signature injuries in military service members who have been exposed to explosive blasts during deployments to Iraq and Afghanistan. Acute stress disorder (ASD), which occurs within 2–30 d after trauma exposure, is a more immediate psychological reaction predictive of the later development of PTSD. Most previous studies have evaluated service members after their return from deployment, which is often months or years after the initial blast exposure. The current study is the first large study to collect psychological and neuropsychological data from active duty service members within a few days after blast exposure. Materials and Methods Recruitment for blast-injured TBI patients occurred at the Air Force Theater Hospital, 332nd Air Expeditionary Wing, Joint Base Balad, Iraq. Patients were referred from across the combat theater and evaluated as part of routine clinical assessment of psychiatric and neuropsychological symptoms after exposure to an explosive blast. Four measures of neuropsychological functioning were used: the Military Acute Concussion Evaluation (MACE); the Repeatable Battery for the Assessment of Neuropsychological Status (RBANS); the Headminder Cognitive Stability Index (CSI); and the Automated Neuropsychological Assessment Metrics, Version 4.0 (ANAM4). Three measures of combat exposure and psychological functioning were used: the Combat Experiences Scale (CES); the PTSD Checklist-Military Version (PCL-M); and the Acute Stress Disorder Scale (ASDS). Assessments were completed by a deployed clinical psychologist, clinical social worker, or mental health technician. Results A total of 894 patients were evaluated. Data from 93 patients were removed from the data set for analysis because they experienced a head injury due to an event that was not an explosive blast (n = 84) or they were only assessed for psychiatric symptoms (n = 9). This resulted in a total of 801 blast-exposed patients for data analysis. Because data were collected in-theater for the initial purpose of clinical evaluation, sample size varied widely between measures, from 565 patients who completed the MACE to 154 who completed the CES. Bivariate correlations revealed that the majority of psychological measures were significantly correlated with each other (ps ≤ 0.01), neuropsychological measures were correlated with each other (ps ≤ 0.05), and psychological and neuropsychological measures were also correlated with each other (ps ≤ 0.05). Conclusions This paper provides one of the first descriptions of psychological and neuropsychological functioning (and their inter-correlation) within days after blast exposure in a large sample of military personnel. Furthermore, this report describes the methodology used to gather data for the acute assessment of TBI, PTSD, and ASD after exposure to an explosive blast in the combat theater. Future analyses will examine the common and unique symptoms of TBI and PTSD, which will be instrumental in developing new assessment approaches and intervention strategies.

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Browne, Tess, Lisa Hull, Oded Horn, Margaret Jones, Dominic Murphy, Nicola T. Fear, Neil Greenberg, et al. "Explanations for the increase in mental health problems in UK reserve forces who have served in Iraq." British Journal of Psychiatry 190, no. 6 (June 2007): 484–89. http://dx.doi.org/10.1192/bjp.bp.106.030544.

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BackgroundDeployment to the 2003 Iraq War was associated with ill health in reserve armed forces personnel.AimsTo investigate reasons for the excess of ill health in reservists.MethodUK personnel who were deployed to the 2003 Iraq War completed a health survey about experiences on deployment to Iraq. Health status was measured using self-report of common mental disorders, post-traumatic stress disorder (PTSD), fatigue, physical symptoms and well-being.ResultsReservists were older and of higher rank than the regular forces. They reported higher exposure to traumatic experiences, lower unit cohesion, more problems adjusting to homecoming and lower marital satisfaction. Most health outcomes could be explained by role, experience of traumatic events or unit cohesion in theatre. PTSD symptoms were the one exception and were paradoxically most powerfully affected by differences in problems at home rather than events in Iraq.ConclusionsThe increased ill-health of reservists appears to be due to experiences on deployment and difficulties with homecoming.

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Lukács, Eszter. "Value Driven Foreign Policy in South Asia, and its Lessons for the West Asian Region." UKH Journal of Social Sciences 3, no. 1 (June 30, 2019): 83–84. http://dx.doi.org/10.25079/ukhjss.v3n1y2019.pp83-84.

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India during the long rule of the Nehru-Gandhi ‘dynasty’ aptly practiced realist foreign policy in the regional theatre and globally, but fell short of representing specifically Indian cultural values. Since the early 1990s, India’s foreign policy has regained its identity. Today, under Prime Minister Narendra Damodardas Modi, India assertively stands for its heritage in foreign policy. This is a practice that has relevance for the entire West Asian region, including the Kurdistan Region of Iraq.

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Magelssen, Scott. "Rehearsing the “Warrior Ethos”: “Theatre Immersion” and the Simulation of Theatres of War." TDR/The Drama Review 53, no. 1 (March 2009): 47–72. http://dx.doi.org/10.1162/dram.2009.53.1.47.

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To pre-expose deployment-bound troops to combatants' unconventional tactics, the Army has constructed vast simulations of wartime Iraq and Afghanistan. Termed “Theatre Immersion,” these sites feature entire towns bustling with costumed villagers. The largest facility is at Fort Irwin in the Mojave Desert. It is part of a long tradition of performance and war games, but never before has a military simulation worked to produce an environment with this kind of scale and attention to fidelity.

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