Bibliografías temáticas / Bahram Beyzaie

Literatura académica sobre el tema "Bahram Beyzaie"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 26 de julio de 2024

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Artículos de revistas sobre el tema "Bahram Beyzaie"

1

Pak-Shiraz, Nacim. "Exploring the City in the Cinema of Bahram Beyzaie". Iranian Studies 46, n.º 5 (septiembre de 2013): 811–28. http://dx.doi.org/10.1080/00210862.2013.789745.

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Ghanoonparvar, M. R. "Collective Identity and Despotism: Lessons in Two Plays by Bahram Beyzaie". Iranian Studies 46, n.º 5 (septiembre de 2013): 753–64. http://dx.doi.org/10.1080/00210862.2013.789741.

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Mahmoodi-Bakhtiari, Behrooz y Mahsa Manavi. "The Mongol Invasion in Iranian Drama: The Case of Bahram Beyzaie". Iranian Studies 46, n.º 5 (septiembre de 2013): 765–89. http://dx.doi.org/10.1080/00210862.2013.789742.

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Mirmasoomi, Mahshid. "Hamartia and Catharsis in Shakespeare’s King Lear and Bahram Beyzaie’s Death of Yazdgerd". International Letters of Social and Humanistic Sciences 74 (noviembre de 2016): 16–25. http://dx.doi.org/10.18052/www.scipress.com/ilshs.74.16.

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King Lear(1606) is one of the political tragedies of Shakespeare in which the playwright censures Lear's hamartia wrecking havoc not only upon people's lives but bringing devastation on his own kindred. Shakespeare castigates Lear's wrath, sense of superiority, and misjudgments which lead to catastrophic consequences. InDeath ofYazdgerd(1979), an anti-authoritarian play, Bahram Beyzayie, the well-known Persiaian tragedian, also depicts the hamartia of King Yazdgerd III whose pride and unjust treatment of people end in devastation. By demonstrating such defective and reprehensible tragic heroes, both playwrights set at providing audience with an anti-heroic representation of the kings and also shattering the common god-like heroism attributed to hero kings. Bearing in mind the political instability of England after the succession of James I, Shakespeare avails himself of such anti-heroic representation to forewarn those monarchs incapable of maintaining a balance between their judgments and the society's need for a genuine authority. In a similar fashion, Beyzayie narrates the true historical event of a Persian king whose improper exercise of authority, withdrawal from battle, and an ultimate escape leave people helpless against the invasion of Arabs. The article initially aims to discuss the concept of hamartia within the tragedies based on Aristotle's definition of hamartia and golden mean; by defining the nature of the kings' unforgivable errors and their extremely imbalanced temperament, the paper demonstrates how such ignoble failure relegates the hero kings to anti-heroes whose punishment equals their mistakes. Contrary to Aristotle’s idea, the article also elucidates how Shakespeare and Beyzaie have caused the audiences’ catharsis of emotion not through fear and pity but through the creation of a sense of justice by portraying characters who deserve their ultimate downfall.
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Amjad, Hamid. "From the Land of the Pure, in Search of the Lost Origin: An Interview with Bahram Beyzaie onSiyavush-Khani(Siyavush Recitation) and its Mythological and Literary Roots". Iranian Studies 46, n.º 5 (septiembre de 2013): 721–36. http://dx.doi.org/10.1080/00210862.2013.789739.

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Talajooy, Saeed. "Reformulation ofShahnamehLegends in Bahram Beyzaie's Plays". Iranian Studies 46, n.º 5 (septiembre de 2013): 695–719. http://dx.doi.org/10.1080/00210862.2013.789735.

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Farhadi, Ramin y Mohammad Amin Mozaheb. "History, Aporia and Politics in Bahram Beyzaie’s Death of Yazdgerd". Annals of Language and Literature 2, n.º 2 (2018): 19–25. http://dx.doi.org/10.22259/2637-5869.0202004.

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Rutherford, Anne. "Film, trauma és az enunciatív jelen". Apertura 15, n.º 3 (2020): 1–24. http://dx.doi.org/10.31176/apertura.2019.15.3.1.

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A traumakutatások azon kísérlete, hogy az atrocitásokról részletes beszámolót adjon, kudarcra van ítélve a trauma kimondhatatlan és elképzelhetetlen jellege miatt, ami a tapasztalat és a nyelv közti szakadékra is rámutat. Ez a megközelítés ugyanakkor a túlélők fájdalma iránt is érzéketlen, akiket a közönség tagjaiként újra traumatizálhat a beszámoló. A tanulmány a traumával való munka alternatív lehetőségeire mutat rá, melyeknek alapja az etikai megközelítés, a túlélők iránti törődés, a reprezentáció többszólamú formái és az érzéki és affektív eszközökön keresztül a karakterekhez való érzelmi ragaszkodás. Ezek a verbalitáson kívüli lehetőségek a nézőket más szinten vonják be, és a megtestesült, érzéki és/vagy affektív élményen keresztül hoznak létre elköteleződést. A tanulmány két filmet elemez. A Bashu, a kis idegen (Bahram Beyzai, 1986) fikciója a gyerekszereplőn keresztül állítja munkába a szomatikus regisztert. A Puisi Tak Terkuburkan (Garin Nugroho, 1999) stilizált indonéz dokumentumfilmben a túlélő egyszerre színész és tanú, a hagyományos, énekelt vers és az újrajátszás által teszi összetettebbé a néző tapasztalatát.
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Forouzani, Farzaneh, Narges Mohammadi Badr, Mostafa Gorji y Shahin Haghighi. "The Role of Language in Processing Various Characters in Bahram Beyzai’s Play: One Thousand and First Night". Journal of History Culture and Art Research 6, n.º 1 (28 de febrero de 2017): 8. http://dx.doi.org/10.7596/taksad.v6i1.698.

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Khalili Kolahian, Shiva. "An analytical study of the ritual ceremonies in Iranian performing arts, a case study of Travellers". CINEJ Cinema Journal 8, n.º 2 (3 de diciembre de 2020): 217–46. http://dx.doi.org/10.5195/cinej.2020.260.

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Rites and myths are important parts of the identity and the culture of every nation. Iranian rites and performing arts, as a part of Iranian art and culture, which has always got attention throughout history, can help us recognize ancient Iranian culture and history. Cinema, among other interactive arts, has sometimes been able to portray ritual arts well. Travellers movie, made by Bahram Beyzai, is one of the most prominent examples of the visualization of ritual arts in Iran, because the movie consists of three parts, like the three theaters, in which the rites are portrayed as the main story of the movie, and the Persian culture and customs have been exhibited. This paper, which its research method is descriptive-analytical, examines the standing of rites and ritual arts in Travellers movie and analyzes its atmosphere regarding to performing rituals. Its scene design changes as the script process, so that the application of elements such as light and color, and their intensity and reduction in different mental conditions, from pleasure to mourning, has been considered wisely, and the atmosphere has a dramatic impact on the audience in different scenes. The lighting and the coloring of the scenes in the movie, indicates a tribute to beliefs and faith in rites and ritual arts.
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Tesis sobre el tema "Bahram Beyzaie"

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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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Talajooy, Saeed Reza. "Mythologizing the transition : a comparative study of Bahram Beyzaee and Wolfe Soyinka". Thesis, University of Leeds, 2008. http://etheses.whiterose.ac.uk/406/.

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Bahram Beyzaee, the Iranian playwright, screenwriter and filmmaker, and Wole Soyinka, the Nigerian poet, playwright, and novelist have produced artistic works that transcend the limitations of time and locality to become powerful comments on human life and socio-political and cultural institutions. This research study examines the major themes and dramatic techniques of these two writers to demonstrate how, in two very different cultural settings, traditional modes and themes appear in modem art forms to renegotiate cultural identity. I argue that both writers place themselves in a post postcolonial position which rather than being concerned about 'writing back against the centre' reflects on the cultural shortcomings that leaves their people at the mercy of vicious internal and external forces. I also demonstrate how they demythologize the traditional superstitious beliefs that haunt the present, foreground the inauthenticity of the modern hybrid obsessions that distort everyday life in their countries and mythologize and glorify the positive aspects of history and contemporary life to redefine cultural identity in terms of the best their cultures can offer. The first two chapters give an account of the history of Iranian and Nigerian performance forms in the context of socio-political, cultural, literary and artistic movements and traditions. The third chapter proceeds to present a short discussion of the theatrical vision and themes of Beyzaee and Soyinka and embarks on a general comparison of the two writers. Chapter four is focused on Beyzaee and Soyinka's depiction of the intellectuals as sacrificial heroes whose death may initiate social purgation and cultural regeneration and liberation. Chapter five is less mythical and more sociopolitical. It is a reflection on the writers' portrayal of women in their works and their success or failure in transcending literary and cultural stereotypes in a world where the means of production and socio-economic facts and the cultural developments associated with them demand a rapid movement away from patriarchal values. Chapter six is devoted to the study of another major issue in the process of cultural transition, namely, redefining the position of ethnic minorities in the myth of nationhood. This last chapter is followed by a brief conclusion, discussing the results and the future possibilities of drama in the context of rapid transition.
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3

Sheikhi, Shoustari Masoud. "An investigation into representations of women in Iranian New Wave cinema". Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10150.

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In an analytical look into the history of the formation of Iranian New Wave cinema, this research explores the key elements that constitute integration between the women representation and the evolution of New Wave visual narrative. The paper will preliminarily examine the public’s response to the early representation of women in classic Iranian cinema and discusses the impact of the socio-political modifications, imposed by the process of modernisation, on the reception of the early representation by the Iranian public. The paper then discuss aspects of the philosophical framework in relation to the role of gender in the conception of artwork. The artistic growth of Forugh Farrokhzad, a prominent figure in modern Persian poetry and the New Wave Iranian cinema will be explored. Through the example of Farrokhzad, the intention is to identify the key elements regarding the influence of Persian poetry on the formation of New Wave visual narrative. This brings the paper to the third chapter where the implications of the Islamic revolutionary regime’s regulatory frameworks on the image of women in cinema will be discussed. Also the paper examines the role that the representation of women plays as an instrument of the Islamic republic to generate a process of reproduction of new national culture. In contrast, the alternative response of independent filmmakers to the mainstream representation of women will be explored by the means of re-examination of the structure of the film star system, the aesthetic of censorship and the act of viewing approach in relation to images of women. In the final chapter, the connection between my film practice and the characteristics of Iranian New Wave visual narrative is established through analysis of the key elements associated with the representation of gender in the works of New Wave filmmakers such as Forugh Farrokhzad, Rakhshan Bani-Etemad, Bahram Beyzai, and Abbas Kiarostami.
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4

Najmi, Fahimeh. "L'identite nationale et le théâtre en Iran (sous le règne des Pahlavi)". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030053.

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A l’opposé des spectacles traditionnels iraniens qui sont un sujet exploré depuis des années par la recherche théâtrale notamment à l’extérieur des frontières iraniennes, l’étude du« théâtre en Iran » est encore à ses balbutiements. La présente étude se concentre sur une période cruciale de l’histoire contemporaine iranienne où dans un contexte très agité les efforts sincères de trois initiés : Mir Seyfeddin Kermanshahi, Abdolhossein Noushin et Shahin Sarkissian parviennent au lancement d’un théâtre qui se réclamant de l’art, dépasse le cadre du simple divertissement ou de la pure propagande et est capable de méditer sur les interrogations fondamentales du peuple iranien notamment la question de l’identité.Le facteur déterminant à prendre en considération dans leur parcours est sans doute leur formation on Occident, en Russie et en France, et leur rencontre avec le mouvement européen du Théâtre d’Art
While 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
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Libros sobre el tema "Bahram Beyzaie"

1

Gholipour, Farshid, ed. Divan-e dialogue-e Bahram Beyzaie. Tehran, Iran: dayere-ye sefid, 2021.

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Afshārī, Maryam. Taḥlīlī bar bāztāb-i usṭūrah dar sīnamā-yi Bahram Beyzaie. Tihrān: Intishārāti Rawshangarān va Muṭālaʻāt-i Zanān, 2015.

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Kāvah, ʻAlī Riz̤ā. Bahrām Bayz̤āʼī va "Vaqtī hamah khvābīm": Bahram Beyzaie and When we are all asleep. 8a ed. Tihrān: Intishārāt-i Nīlā, 2019.

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Hūshang, Allāhʹvardī Amīr, ed. Khīrah bih fānūs-i khayāl: Justārī dar namādʹhā va usṭūrahʹhā-yi chahār fīlm-i Bahram Beyzaie (Ragbār, Gharībah va mih, Kulāgh, Marg-i Yazdagird). Iṣfahān: Naqsh-i Khvurshīd, 2001.

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Talajooy, Saeed, ed. The Plays and Films of Bahram Beyzaie. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9780755652723.

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Bahram Beyzaie is one of Iran’s leading auteur filmmakers. This book examines several of Beyzaie’s films and plays and their preoccupation with the modalities of Iranian contemporary, historical and mythical identity, from different perspectives. The chapters analyse films such as Bashu, the Little Stranger, Killing Mad Dogs and Uncle Moustache from a range of critical perspectives including ecofeminist and socio-political readings. They also explore Beyzaie’s use of genre, different Iranian languages, and the representation of religious themes. Together, the chapters show how Beyzaie’s works negotiate narratives of belonging in Iran, and how they use the resources of Iranian folk and performance traditions to comment on the position of women, children, intellectuals, and minorities in society.
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Gharībah-yi buzurg: Zindagī va ās̲ār-i Bahrām Bayz̤āʼī. Tehran, Iran: Nashr-i S̲ālis̲, 2004.

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Goft-o-Goo ba Bahram Beyzai. Tehran, Iran: Agah, 1993.

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Talajooy, Saeed. Iranian Culture in Bahram Beyzaie's Cinema and Theatre: Paradigms of Being and Belonging. Bloomsbury Publishing Plc, 2023.

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Capítulos de libros sobre el tema "Bahram Beyzaie"

1

"Bahram Beyzaie". En Iranian Cinema Uncensored. I.B.Tauris, 2016. http://dx.doi.org/10.5040/9780755609185.ch-002.

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Beyzaie, Bahram y Amir Roshan. "‘At the END of A Century’ (1996)". En Counter-Memories in Iranian Cinema, 229–46. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479752.003.0013.

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Written on the occasion of the 100-year anniversary of cinema and first published in Persian in Iran Nameh (1996), Bahram Beyzaie’s article »At the End of a Century« (»Pas az sad sāl«) is now accessible to a wider readership, thanks to the translation by Amir Roshan. Beyzaie traces back the struggle with censorship and with what he calls ‘absolutism’ to the cultural history of Iran and Persia. Absolutism according to Beyzaie is not a political system as in the classic definition of political philosophy; it is a worldview which horizontally determines the relation between subjects, and between the subject and him- or herself, what Foucault would call assujettissement (subjectivation). Although cinema is a modern phenomenon, Iran’s film industry, like the mural paintings of the medieval period before it, is a victim of the same absolutist control mechanisms and dominant traditional values. »[T]he traditional absolutism has now accepted the image, but more than anything else it has accepted the image of its own victory. [. . .] We have created such an elaborated system which, instead of being at the cinema’s disposal, thinks that filmmakers have to be at its service« (p. 241).
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Talajooy, Saeed. "History and Iranian drama: The case of Bahram Beyzaie". En Preceptions of Iran. I.B.Tauris, 2014. http://dx.doi.org/10.5040/9780755611621.ch-011.

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"Bahram Beyzaie’s contour in time". En Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0005.

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"The Journey (1972)". En Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0009.

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"Uncle Moustache (1970)". En Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0007.

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"The Puppet Trilogy (1962–3)". En Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0006.

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"Conclusion". En Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0012.

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"Notes". En Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0013.

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"Downpour (1971–2)". En Iranian Culture in Bahram Beyzaie’s Cinema and Theatre. I.B. Tauris, 2023. http://dx.doi.org/10.5040/9780755648696.0008.

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