انجمن هنرهای نمایشی ایران تئاتر 17350235 13 2 2026 08 23 An Analysis of the Theatrical Aspects of the Story of Rostam and Esfandiar in the Cultural Identity Formation of Iranian Adolescents from the Perspective of Aristotle’s Poetics تحلیل جنبه‌های نمایشیِ داستان رستم‌واسفندیار در هویت‌بخشی فرهنگی نوجوانان ایران، از منظر بوطیقای ارسطو 9 22 245015 10.22034/theater.2026.581652.1173 FA آرش رادی دانشجوی دکتری رشتۀ برنامه‎ریزی و مدیریت فرهنگی، دانشکدۀ مدیریت، دانشگاه آزاد اسلامی، واحد علوم و تحقیقات، تهران، ایران. مصطفی مختاباد امرئی استاد، گروه ادبیات نمایشی، دانشکدۀ هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران . 0000-0001-9259-873X فاطمه عزیزآبادی فراهانی دانشیار، گروه مدیریت امور فرهنگی، دانشکدۀ مدیریت، دانشگاه آزاد اسلامی، واحد علوم و تحقیقات، تهران، ایران. Journal Article 2026 05 24 The Shahnameh of Ferdowsi is widely recognized as the greatest masterpiece of Persian epic literature and one of the most influential cultural texts in Iranian civilization. Beyond its literary and historical significance, the Shahnameh has played a fundamental role in preserving the Persian language, transmitting collective memory, reinforcing national identity, and communicating ethical values across generations. Among its numerous narratives, the story of Rostam and Esfandiar occupies a unique position because of its sophisticated dramatic structure, profound philosophical themes, multidimensional characterization, and remarkable theatrical potential. More than a heroic conflict, this narrative presents a tragic confrontation between two noble protagonists whose opposing ethical commitments ultimately lead to an inevitable catastrophe. These characteristics make the story one of the closest examples of classical tragedy within Persian literature and an appropriate subject for analysis through Aristotle’s theory of tragedy presented in the Poetics. The present study aims to investigate the dramatic characteristics of the story of Rostam and Esfandiar based on Aristotle’s six elements of tragedy—plot, character, diction, thought, melody, and spectacle—and to examine how these dramatic elements contribute to the cultural identity formation of Iranian adolescents. In contemporary societies, where globalization, digital media, and cultural diversity increasingly influence young people’s identities, literary masterpieces possessing enduring ethical and cultural values can function as effective educational resources. The Shahnameh, particularly the story of Rostam and Esfandiar, provides adolescents with opportunities to engage with concepts such as justice, responsibility, freedom, national identity, courage, moral choice, and social commitment. Consequently, analyzing this narrative from both literary and educational perspectives contributes not only to Persian literary criticism but also to cultural studies and identity education. This research employs a descriptive-analytical methodology based on documentary and library research. Primary data were collected from Ferdowsi’s Shahnameh, while secondary sources include studies on Aristotelian poetics, Persian epic literature, dramatic theory, and cultural identity. The analytical framework is grounded in Aristotle’s classification of the six essential elements of tragedy. Each element is examined individually to determine its dramatic function within the narrative and its educational implications for adolescent audiences. The study also considers how these dramatic components interact to produce emotional engagement, ethical reflection, and cultural awareness. The analysis demonstrates that the story of Rostam and Esfandiar satisfies all six Aristotelian components of tragedy. The plot possesses remarkable unity and causal coherence. Every major event logically develops from preceding actions, beginning with Goshtasp’s political ambitions and culminating in the fatal conflict between Rostam and Esfandiar. The tragedy arises not from accidental events but from inevitable consequences produced by conflicting duties, political manipulation, and ethical dilemmas. This coherent structure generates dramatic tension while illustrating the consequences of human decisions. For adolescent readers, such a carefully organized plot encourages critical thinking by emphasizing the relationship between individual choices and their long-term consequences. The characters constitute another significant strength of the narrative. Rostam and Esfandiar are portrayed as morally complex rather than absolutely virtuous or villainous figures. Rostam symbolizes wisdom, independence, experience, patriotism, and traditional Iranian chivalry. His reluctance to engage in battle reflects prudence rather than fear, demonstrating his commitment to justice and rational judgment. Esfandiar, on the other hand, embodies religious devotion, obedience, discipline, courage, and loyalty to royal authority. His tragedy emerges from his unwavering commitment to duty despite recognizing the injustice of the mission imposed upon him. Because both protagonists possess admirable qualities, readers experience sympathy toward each character simultaneously, intensifying the emotional impact of the narrative. This psychological complexity provides adolescents with realistic models of ethical conflict, illustrating that difficult life decisions often involve competing moral responsibilities rather than clear distinctions between good and evil. The element of diction represents another important dramatic characteristic. Ferdowsi’s elevated yet expressive language combines poetic beauty with dramatic dialogue. Conversations between Rostam, Esfandiar, Zal, Goshtasp, and other characters serve not merely as narrative devices but as vehicles for philosophical debate and ethical reasoning. Through dialogue, themes such as justice, loyalty, authority, freedom, and honor are explored in depth. Furthermore, the linguistic richness of the Shahnameh contributes significantly to preserving the Persian language and literary heritage. For adolescent readers, exposure to this refined language strengthens linguistic competence while fostering appreciation for Persian literary traditions and cultural continuity. The thought or thematic dimension of the narrative contains numerous philosophical and ethical concepts that remain relevant in contemporary society. One central theme concerns the conflict between political power and moral responsibility. Goshtasp’s determination to preserve his throne motivates him to manipulate Esfandiar into confronting Rostam, thereby exposing the destructive consequences of irresponsible leadership and political ambition. Another important theme is the tension between duty and personal freedom. Esfandiar’s obedience to royal command contrasts with Rostam’s insistence upon independent moral judgment, encouraging readers to reflect upon the limits of obedience and the necessity of ethical responsibility. The narrative also explores the relationship between fate and free will. Although prophecy and destiny influence the events, the characters retain moral agency and remain accountable for their choices. Additional themes—including justice, legitimacy of political authority, national identity, heroism, sacrifice, wisdom, and social responsibility—provide adolescents with opportunities to engage critically with enduring philosophical questions. Another essential component is melody, which Aristotle regarded as an important source of emotional influence within tragedy. In the context of the Shahnameh, melody is realized through Ferdowsi’s poetic rhythm, phonetic harmony, and musical quality of verse rather than theatrical music. The rhythmic structure of Persian epic poetry intensifies emotional expression during scenes of dialogue, battle, grief, and reflection. The balanced meter, repetition of sounds, and carefully selected vocabulary create an aesthetic experience that strengthens readers’ emotional engagement with the narrative. This artistic quality increases memorability and contributes to the educational effectiveness of the text, making ethical and cultural messages more deeply internalized by adolescent audiences. The final Aristotelian element, spectacle, reveals the narrative’s extraordinary dramatic potential. Although originally composed as an epic poem rather than a theatrical script, the story contains numerous vividly visual scenes suitable for dramatic adaptation. Highly theatrical moments are collectively created by the arrival of Esfandiar’s army in Sistan, the emotionally charged dialogues between Rostam and Esfandiar, the appearance of Zal and the mythical Simurgh, the magnificent battle scenes, Esfandiar’s tragic death, and the subsequent emotional reactions. Ferdowsi’s detailed descriptions of landscapes, weapons, horses, costumes, and battlefield movements enhance the visual imagination and facilitate adaptation into theater, cinema, television, animation, puppet theater, storytelling performances, and digital educational media. Given the increasing influence of visual media on contemporary adolescents, these dramatic possibilities provide valuable opportunities for introducing younger generations to Iran’s literary and cultural heritage through modern artistic forms. The findings indicate that the interaction among these six dramatic elements transforms the story into a comprehensive educational experience extending beyond literary enjoyment. Emotional engagement generated by tragic conflict encourages empathy, while philosophical themes stimulate reflection upon justice, authority, responsibility, freedom, and ethical decision-making. Simultaneously, the preservation of the Persian language, heroic ideals, and historical memory reinforces adolescents’ cultural identity and national consciousness. Rather than presenting simplistic moral lessons, the narrative encourages critical evaluation of complex human situations, thereby supporting intellectual maturity and ethical development. Furthermore, the study suggests that the dramatic structure of the story significantly enhances its pedagogical value. Educational activities based on dramatic adaptation—including theater performances, storytelling, classroom discussions, role-playing, animation, and multimedia productions—can effectively increase adolescents’ engagement with classical Persian literature. Such approaches improve literary appreciation and promote communication skills, critical thinking, creativity, collaborative learning, and cultural awareness. Consequently, integrating selected narratives from the Shahnameh into secondary-school curricula and extracurricular cultural programs may strengthen students’ emotional connection with Iranian cultural heritage while addressing contemporary challenges related to identity formation. In conclusion, the analysis demonstrates that the story of Rostam and Esfandiar is far more than a heroic or tragic narrative. It represents a multidimensional cultural text whose dramatic characteristics closely correspond to Aristotle’s theory of tragedy while simultaneously serving important educational and identity-building functions. The coherent plot, psychologically complex characters, expressive language, profound philosophical themes, poetic musicality, and rich visual imagery collectively establish the story as one of the finest examples of dramatic literature within the Persian literary tradition. Through these elements, the narrative cultivates ethical reflection, emotional intelligence, cultural consciousness, and national identity among adolescent readers. The educational implications of this research suggest that the Shahnameh should be viewed not merely as a historical literary monument but as a dynamic cultural resource capable of addressing contemporary educational needs. Purposeful incorporation of its dramatic narratives into educational curricula, theatrical productions, digital storytelling, animation, and other creative media can strengthen adolescents’ understanding of Iranian history, language, literature, and cultural values while fostering critical thinking and responsible citizenship. Ultimately, the story of Rostam and Esfandiar demonstrates that classical literature continues to possess enduring relevance for modern societies by providing universal ethical insights alongside the preservation of national cultural identity. شاهنامۀ فردوسی، افزون بر جایگاه ادبی و حماسی خود، یکی از مهم‎ترین منابع انتقال ارزش‎های فرهنگی، اخلاقی و هویتی به نسل‎های مختلف ایرانی به شمار می‎رود. در میان داستان‎های این اثر، روایت رستم و اسفندیار به دلیل برخورداری از ساختاری منسجم، شخصیت‎های چندبعدی، گفت‎وگوهای دراماتیک، مضامین عمیق اخلاقی و ظرفیت‎های گستردۀ نمایشی، از برجسته‎ترین نمونه‎های تراژدی در ادبیات فارسی محسوب می‎شود. پژوهش حاضر با هدف بررسی نقش جنبه‎های نمایشی این داستان در فرایند هویت‎بخشی فرهنگی نوجوانان ایران و با تکیه بر نظریۀ تراژدی ارسطو انجام شده است. روش پژوهش توصیفی ـ تحلیلی و مبتنی بر مطالعۀ کتابخانه‎ای است. داده‎ها با استفاده از منابع معتبر مربوط به شاهنامه، بوطیقای ارسطو و مطالعات حوزۀ ادبیات نمایشی گردآوری و بر اساس شش عنصر اصلی تراژدی، شامل پیرنگ، شخصیت، گفتار، اندیشه، موسیقی و منظر نمایشی، تحلیل شده‎اند. نتایج پژوهش نشان می‎دهد که داستان رستم و اسفندیار از تمامی عناصر بنیادین تراژدی برخوردار است و هر یک از این عناصر در انتقال مفاهیم فرهنگی و شکل‎گیری هویت نوجوانان نقشی مؤثر ایفا می‎کنند. پیرنگ منسجم و مبتنی بر روابط علت و معلولی، مخاطب را با پیامدهای تصمیم‎گیری‎های اخلاقی آشنا می‎سازد و زمینۀ همذات‎پنداری با شخصیت‎ها را فراهم می‎کند. شخصیت‎های رستم و اسفندیار با برخورداری از ابعاد انسانی، اخلاقی و روان‎شناختی، نوجوان را با مفاهیمی همچون مسئولیت، آزادگی، وفاداری، عدالت و تعهد روبه‎رو می‎کنند. گفت‎وگوهای اثر علاوه‎بر ایجاد کشمکش دراماتیک، در انتقال میراث زبانی و ارزش‎های فرهنگی نقش اساسی دارند. همچنین مضامینی چون تقابل قدرت و اخلاق، تعارض وظیفه و آزادی، سرنوشت و اختیار، مشروعیت سیاسی، هویت ملی و سنت پهلوانی، بستری برای پرورش تفکر انتقادی، خودآگاهی فرهنگی و مسئولیت اجتماعی نوجوانان فراهم می‎آورند. موسیقی حماسی شعر فردوسی و تصویرسازی‎های نمایشی روایت نیز بر تأثیر عاطفی و زیبایی‎شناختی اثر افزوده و امکان اقتباس آن را در قالب تئاتر، نقالی، نمایش عروسکی، فیلم، انیمیشن و سایر رسانه‎های نوین فراهم ساخته است. بر این اساس، می‎توان نتیجه گرفت که داستان رستم و اسفندیار صرفاً روایتی حماسی یا تراژیک نیست، بلکه متنی فرهنگی، تربیتی و هویت‎ساز است که با بهره‎گیری از ظرفیت‎های نمایشی خود می‎تواند در آموزش ارزش‎های فرهنگی، تقویت هویت ملی، گسترش تفکر انتقادی و آشنایی نسل نوجوان با میراث ادبی و تاریخی ایران نقش مؤثری ایفا کند. ازاین‎رو، بهره‎گیری هدفمند از این روایت در برنامه‎های آموزشی، فرهنگی و هنری، زمینه‎ای مناسب برای تعمیق پیوند نوجوانان با فرهنگ و هویت ایرانی فراهم خواهد ساخت.

https://journal.theater.ir/article_245015_ad96e5f203928cf8f7a04d261db683e0.pdf

انجمن هنرهای نمایشی ایران تئاتر 17350235 13 2 2026 08 23 A Systematic Review of Dramatic Games and the Development of Moral Intelligence in Children بازی‎های نمایشی و پرورش هوش اخلاقی در کودکان: مرور نظام‎مند 23 38 235979 10.22034/theater.2025.550650.1143 FA شاهد پیوند دانشجوی دکتری، گروه پژوهش هنر، واحد بین‎الملل کیش، دانشگاه آزاد اسلامی، کیش، ایران. ابوالفضل داودی رکن آبادی استاد، گروه طراحی پارچه و لباس، دانشگاه آزاد اسلامی، واحد یزد، یزد، ایران . 0000-0001-8279-2803 حمیدرضا افشار دانشیار، گروه نمایش، دانشکدۀ سینما و تئاتر، دانشگاه هنر تهران، تهران، ایران. 0009-0000-2933-7051 پژمان دادخواه استادیار، مؤسسه آموزش عالی اقبال لاهوری، مشهد، ایران. 0009-0003-6164-1071 Journal Article 2025 10 04 The present study was designed to uncover the underlying mechanisms through which dramatic games contribute to the development of moral intelligence in children, with a specific focus on extracting a comprehensive applied model that could serve as a practical guide for designing, implementing, and evaluating school-based educational interventions. Traditional approaches to moral education often rely heavily on abstract instruction, passive learning, or sermon-like lectures, which frequently fail to translate into genuine behavioral change during everyday social interactions. The growing interest in embodied, activity-based pedagogies, particularly those rooted in theatrical and dramatic practices, stems directly from their unique capacity to create emotionally charged, simulated environments where children can not only learn about ethical principles but actively practice them in real-time. Although there is a growing recognition of this educational and therapeutic potential across both academic and clinical settings, the existing literature still lacks a clear and systematic account of how these specific activities translate into measurable moral outcomes. This study addresses that critical gap by rigorously synthesizing the available evidence from the past decade and proposing a coherent, operational framework intended to bridge theory and practice for researchers, educators, and curriculum planners alike. To achieve this overarching goal, a qualitative systematic review was carried out within an interpretive-constructivist paradigm, encompassing all relevant scientific works published between January 2015 and September 2025 that examined the use of dramatic games—including educational theater, role-playing, drama therapy, psychodrama, and pretend play—in direct relation to moral development in school-aged children. A systematic and exhaustive search was performed across major academic databases, including Scopus, Web of Science, ERIC, and PsycINFO, which was supplemented by targeted searches in Google Scholar to effectively capture the grey literature that is often overlooked in traditional reviews. The search strategy carefully combined Boolean operators with domain-specific keywords in both English and Persian, drawing on terms such as “dramatic games,” “moral intelligence,” “children,” “psychodrama,” and “moral development,” and was restricted to peer-reviewed journals, books, and dissertations. Studies were included if they focused on school-aged children, employed at least one form of dramatic activity, and reported outcomes that could plausibly be linked to dimensions of moral intelligence. Conversely, purely theoretical pieces without empirical data, non-scientific reports, and studies addressing irrelevant skill domains were systematically excluded to maintain the integrity of the synthesis. The screening and selection process was completed in two distinct stages, an initial title and abstract review followed by a comprehensive full-text assessment, conducted independently by two reviewers to maintain objectivity and minimize the risk of selection bias. Furthermore, to ensure exhaustive coverage, the reference lists of all included studies and relevant review articles were manually hand-searched for any additional eligible publications. For the final selection of eligible studies, a pre-tested data extraction form was used alongside standardized quality appraisal checklists, specifically the JBI Critical Appraisal Checklist and the CASP qualitative tool, to ensure that only methodologically sound and rigorously conducted studies informed the final thematic synthesis. The analysis followed the established and systematic logic of grounded theory, carried out in three iterative phases: open coding, axial coding, and selective coding. This progressive refinement allowed the extracted concepts to be continuously compared and contrasted. During the axial coding phase, the initial open codes were systematically compared and categorized based on their properties and dimensions, which allowed us to identify the specific conditions under which these mechanisms operated, the contextual factors that mediated their effectiveness, and the resulting consequences for children’s moral functioning. Concurrently, deductive content analysis was applied to map these evolving concepts against established theoretical moral dimensions, while a qualitative meta-aggregation approach was employed to synthesize the fragmented findings and formulate higher-order analytical propositions that could capture the complexity of the phenomena under investigation. To ensure methodological dependability, two independent coders carried out the entire coding process, and inter-coder reliability was rigorously assessed using Cohen’s Kappa coefficient, reaching a strong value of 0.87. An audit trail was meticulously maintained throughout the analytical process to enhance transparency, and strategies such as peer debriefing, regular team discussions, and systematic documentation of all analytical decisions were employed to strengthen the credibility and confirmability of the results, ensuring that the interpretations were firmly rooted in the data. The systematic analysis yielded a broad spectrum of 80 initial open codes, which were subsequently refined and organized through the axial and selective coding stages before ultimately converging into fifteen distinct subcomponents nested within six core components of moral intelligence as cultivated through dramatic games. This hierarchical structure provides a clear map of how specific theatrical activities target distinct moral faculties. The first of these core components, perspective-taking, consists of two vital subcomponents: role-taking and role-reversal, which allow children to step authentically into another’s position and genuinely understand their emotional and cognitive viewpoint, and cognitive flexibility and fair representation, which enable them to reframe complex social situations and present balanced, impartial narratives. The second component, empathy, is richly structured and includes bodily-emotional resonance, which involves the subtle mirroring of others’ emotions through nonverbal cues; compassionate concern, which reflects a genuine, active care for the well-being of others beyond mere sentiment; and helpful action, which effectively translates emotional awareness into concrete helping behaviors and practical support. The third component, self-regulation, is constructed from impulse control and the moral pause, which equip children with the essential capacity to pause and reflect before reacting; emotion regulation and anger management, which provide effective strategies to manage intense feelings in constructive ways; and reflection and reform, which foster active post-action thinking that enables ongoing behavioral adjustment and personal growth. The fourth component, conscience and norm internalization, comprises collective norm formation, which involves participatory rule-making and shared decision-making; accountability and honesty, which emphasize accepting the consequences of one’s actions and maintaining trustworthiness; and moral reasoning and reflection, which promote deeper critical thinking about ethical issues and moral dilemmas. The fifth component, respect and tolerance, consists of dignity and constructive communication, which emphasize nonviolent and respectful interaction even in the face of disagreement, alongside diversity and inclusion, which actively cultivate acceptance of differences and encourage meaningful engagement with individuals from diverse backgrounds. The sixth and final component, justice, robustly covers distributive and interactional justice, which focus on fair resource allocation and equitable social exchanges, as well as procedural and restorative justice, which ensure impartial decision-making processes and provide effective pathways for repairing damaged relationships. For instance, within this component, the practice of restorative justice through dramatic scenarios specifically allows children to experience the perspectives of both the victim and the wrongdoer, fostering a deeper, more nuanced understanding of accountability that goes beyond mere punishment. Throughout these six core components, several central mechanisms consistently emerged as key drivers of moral growth, including active role-playing and conflict reframing, the strategic use of nonviolent language, active mediation, and structured restorative practices. These mechanisms were found to work synergistically in facilitating the development of advanced moral judgment, altruistic behavior, refined fairness perception, and increased normative stability among children, effectively turning a theatrical activity into a lived ethical experience. In conclusion, the proposed 6×15 model offers a coherent and robust bridge between structured dramatic activities and measurable moral development, providing both significant theoretical depth and substantial practical utility for contemporary educational practice. It presents clear, operational indicators that can effectively guide curriculum developers, classroom educators, and school psychologists in designing, implementing, and monitoring the effectiveness of moral education programs. Future research should focus on developing and rigorously evaluating school-based interventions grounded in this framework, using consistent and validated assessment measures, while longitudinal designs are particularly needed to examine the sustainability of the observed effects over time. Fidelity of implementation should also be carefully monitored in real-world educational settings, and cross-cultural investigations are strongly recommended to test the model’s broader applicability and adaptability across diverse social and educational contexts. Additionally, policymakers and school administrators should consider the practical implications of this model for teacher training, as implementing dramatic interventions effectively requires a specific set of facilitative skills that are distinct from traditional classroom management techniques. By effectively integrating experiential learning with moral competence, this model holds the profound potential to shift moral education away from abstract instruction and toward embodied, practice-based learning that genuinely supports the holistic and social-emotional development of children in meaningful and lasting ways. مسئلۀ اصلی این پژوهش، شکاف نظری و عملی موجود در زمینۀ چگونگی تأثیر بازی‎های نمایشی بر پرورش نظام‎مند هوش اخلاقی کودکان است. با وجود اشارات متعدد به ظرفیت این هنرها در متون تربیتی و روانشناسی، فقدان یک مدل عملیاتی یکپارچه که ابعاد، مؤلفه‎ها و سازوکارهای این رابطه را به طور شفاف تبیین کند، به‎وضوح احساس می‎شود. پرداختن به این شکاف از آن جهت حائز اهمیت است که می‎تواند مبنای علمی مستحکمی برای طراحی مداخلات آموزشی هدفمند در مدارس فراهم آورد و از اجرای سلیقه‎ای برنامه‎ها جلوگیری کند؛ چراکه در غیاب چنین مدلی، هرگونه بهره‎گیری از نمایش در آموزش اخلاق، مبتنی بر برداشت‎های شخصی خواهد بود و ارزیابی اثربخشی آن میسر نیست. چارچوب نظری این مطالعه، تلفیقی از نظریه‎های یادگیری اجتماعی، رویکرد مبتنی بر شایستگی و پارادایم کامپیوتر به مثابه کنشگر اجتماعی (CASA) است که نقش موقعیت‎های شبیه‎سازی‎شده را در درونی‎سازی ارزش‎ها برجسته می‎سازد. این پژوهش با به کارگیری روش مرور نظام‎مند کیفی و با تحلیل محتوای 80 مطالعه منتخب از پایگاه‎های معتبر علمی در بازه 2015 تا 2025 انجام شد. داده‎ها با استفاده از چک‎لیست‎های استاندارد PRISMA و JBI گردآوری و سپس از طریق کدگذاری سه‎مرحله‎ای (باز، محوری و گزینشی) در چارچوب نظریۀ داده‎بنیاد و با کمک نرم‎افزار ATLAS.ti مورد تحلیل قرار گرفتند. یافته‎های نهایی به استخراج یک مدل شش‎بعدی منجر شد که هسته مرکزی هوش اخلاقی پرورش یافته در بستر نمایش را تشکیل می‎دهد. این ابعاد عبارت است از: دیدگاه‎گیری (با شاخص‎های نقش‎پذیری و انعطاف شناختی که به کودک امکان می‎دهد موقعیت دیگران را درک کند)، همدلی (شامل رزونانس عاطفی، نگرانی دلسوزانه و کنش یاری‎گرانه که پاسخ‎دهی عاطفی به نیازهای دیگران را تسهیل می‎کند)، خودتنظیمی (مشتمل بر مهار تکانه، مدیریت هیجان و بازاندیشی که برای کنترل رفتار در موقعیت‎های نمایشی ضروری است)، وجدان و درونی‎سازی هنجار (شامل تکوین هنجار جمعی، مسئولیت‎پذیری و استدلال اخلاقی که به پذیرش درونی قواعد اخلاقی کمک می‎کند)، احترام و بردباری (با مؤلفه‎های کرامت و تنوع‎پذیری که مدارا در مواجهه با تفاوت‎ها را تقویت می‎نماید) و عدالت (دربرگیرنده عدالت توزیعی و رویه‎ای که انصاف در تخصیص منابع و رعایت رویه‎های عادلانه را مد نظر قرار می‎دهد). این مدل، نقشه راه عملیاتی ارزشمندی را در اختیار مربیان، برنامه‎ریزان درسی و روان‎شناسان مدرسه قرار می‎دهد تا با استفاده از ظرفیت بازی‎های نمایشی، به پرورش نظام‎مند شایستگی‎های اخلاقی در کودکان بپردازند و زمینه‎ساز رشد اجتماعی و عاطفی آنان در محیط‎های آموزشی باشند.

https://journal.theater.ir/article_235979_1ca8fb03a796e393f08ea11aa78d01c7.pdf

انجمن هنرهای نمایشی ایران تئاتر 17350235 13 2 2026 08 23 Theatre Rehearsals as a Carnivalesque Space: A Study of Ariane Mnouchkine’s pproach تمرین‎های تئاتر به مثابه فضایی کارناوالی: مطالعه‎ای بر رویکرد آرین منوشکین 39 50 245140 10.22034/theater.2026.581342.1171 FA محمدرضا (علی) حاجی ملاعلی استادیار، گروه نمایش، دانشکدۀ هنر، دانشگاه بین‎المللی سوره، تهران، ایران. 0009-0008-1708-5609 Journal Article 2026 05 18 Theatre rehearsal has long occupied a paradoxical position within theatre scholarship. Although it is the primary site where theatrical ideas are generated, negotiated, embodied, and transformed, academic attention has largely remained focused on the finished performance rather than on the creative processes that make performance possible. Rehearsal is commonly regarded as a transitional stage whose principal function is to prepare actors for public presentation. Such a product-oriented perspective obscures the rehearsal room as an autonomous space of artistic production where theatrical language, bodily expression, interpersonal relationships, and aesthetic conventions are continuously questioned and reinvented. This article challenges that assumption by proposing that rehearsal should be understood not merely as preparation for performance but as an independent creative event characterized by experimentation, collective invention, and continual transformation. Drawing upon Mikhail Bakhtin’s theory of carnival, the article develops a conceptual framework through which theatrical rehearsal may be interpreted as a carnivalesque space. While Bakhtin formulated his theory to explain medieval and Renaissance popular culture, many of its central concepts—including the suspension of hierarchy, inversion of established order, the grotesque body, collective participation, dialogism, heteroglossia, play, laughter, and becoming—provide a productive vocabulary for analyzing the dynamics of rehearsal. Rather than functioning as a fixed methodological model, carnival is understood here as a temporary condition in which institutional structures are suspended, official authority is destabilized, and alternative forms of creativity become possible. From this perspective, rehearsal constitutes a liminal environment where theatrical conventions are deliberately unsettled before new artistic structures emerge. The study investigates this proposition through the rehearsal methodology and performance practice of Ariane Mnouchkine and the Théâtre du Soleil, one of the most influential examples of collaborative theatre in contemporary performance. Since its establishment in 1964, Théâtre du Soleil has consistently rejected conventional divisions between playwright, director, actor, designer, and technician in favor of collective creation. Mnouchkine’s productions emerge through lengthy rehearsal periods based on improvisation, physical exploration, intercultural exchange, and collaborative authorship. Instead of imposing predetermined interpretations upon performers, rehearsal becomes the principal mechanism through which theatrical meaning is discovered. This collaborative philosophy provides an ideal context for examining rehearsal through Bakhtin’s carnivalesque perspective. The central question guiding this research therefore asks how theatrical rehearsal can be conceptualized not simply as a preparatory phase but as a carnivalesque environment that enables artistic creation through the temporary suspension of theatrical norms and hierarchical structures. The article adopts a qualitative descriptive-analytical approach and employs multiple case studies drawn from Mnouchkine’s productions, including “Ça Passe,” “L’Âge d’Or (The Golden Age),” “1789,” “Les Atrides,” and “Richard II.” Rather than analyzing these productions solely as finished performances, the research focuses on the rehearsal principles and creative processes through which they were generated. The first case study, “Ça Passe”, demonstrates how rehearsal can function as a space of perpetual transition. Developed through extensive collective improvisation rather than the realization of a predetermined script, the production foregrounded process over product and privileged discovery over execution. The mobile stage, which travelled between two groups of spectators, dissolved the conventional spatial hierarchy separating performers and audiences and transformed theatrical space into a fluid environment of continual movement. Such instability reflects Bakhtin’s understanding of carnival as a world in constant becoming, where fixed meanings are replaced by temporary configurations and theatrical reality remains deliberately unfinished. The rehearsal process itself embodied these qualities by encouraging actors to respond spontaneously to emerging situations instead of reproducing predetermined dramatic actions. A similar logic informs “1789,” although here carnival acquires an explicitly political dimension. Rather than reconstructing the French Revolution through historical realism, Mnouchkine transformed revolutionary history into a popular theatrical celebration inspired by fairs, processions, circus traditions, and street performance. During rehearsals, actors collectively developed scenes that combined satire, parody, music, physical comedy, and improvisation, producing a theatrical language rooted in popular performance rather than official historical representation. In this production, not only theatrical conventions but also social and political hierarchies are temporarily suspended. Kings, aristocrats, revolutionaries, and ordinary citizens occupy the same performative space, where authority is desacralized through collective laughter and parody. As in Bakhtin’s carnival, inversion is not simply a reversal of power but a revelation that existing structures are historically contingent rather than permanent. The rehearsal process itself reflects this principle by replacing authoritarian direction with collective experimentation, allowing performers to participate actively in constructing the political imagination of the production. The intercultural dimension of carnival becomes particularly significant in “Les Atrides” (1990–1992). During both rehearsals and performance, Mnouchkine combined performative vocabularies derived from Indian Kathakali, Japanese Noh, and Western classical theatre to create a theatrical language that transcended conventional cultural boundaries. Rather than appropriating these traditions as fixed aesthetic models, rehearsal became a dialogic encounter in which different theatrical systems interacted, challenged one another, and generated new expressive possibilities. This article describes such a process as transcultural carnival. Cultural identities remain recognizable but temporarily lose their hierarchical separation, entering a shared creative field in which difference becomes the source of theatrical innovation. This intercultural philosophy reaches another stage of development in “Richard II”. In reimagining Shakespeare’s history play, Mnouchkine integrated Japanese Noh and Kabuki, Indian Kathakali, and Balinese theatrical traditions to create a performance situated between theatre, ritual, and mythology. Rather than seeking cultural authenticity or historical reconstruction, rehearsal explored the performative principles shared by these traditions, enabling actors to develop bodies that simultaneously embodied kings, deities, ritual figures, and ordinary human beings. Sacred and profane, tragedy and comedy, history and myth coexist within a single theatrical universe. Such hybridity exemplifies Bakhtin’s carnivalesque imagination, where incompatible worlds intersect without dissolving into uniformity. The rehearsal room provided the essential conditions for these encounters because it temporarily suspended aesthetic certainty and encouraged performers to negotiate unfamiliar corporeal and cultural vocabularies through sustained collective experimentation. Taken together, these productions demonstrate that the originality of Théâtre du Soleil lies less in any particular visual style than in a consistent philosophy of rehearsal. Across widely different historical subjects and theatrical traditions, Mnouchkine repeatedly treats rehearsal as an open-ended process in which artistic meaning emerges through collaboration rather than prescription. Improvisation, physical investigation, intercultural dialogue, and collective authorship are not supplementary techniques but the very principles through which performance is generated. The rehearsal room therefore functions as creative commons in which authority is redistributed, aesthetic conventions are questioned, and theatrical language remains permanently open to transformation. The findings of this study suggest that theatrical rehearsal should be understood as an autonomous field of cultural production rather than merely as preparation for performance. When viewed through Bakhtin’s theory of carnival, rehearsal appears as a temporary suspension of institutional order that enables experimentation, risk-taking, and collective creativity. Within this carnivalesque environment, hierarchical distinctions between director and actor become less rigid, the disciplined body gives way to the grotesque body, and established theatrical conventions are replaced by dialogic processes of negotiation and invention. Creativity arises precisely because rehearsal remains unfinished, unstable, and receptive to change. The principal contribution of this research is the conceptualization of the carnivalesque rehearsal as a theoretical model within rehearsal studies. While previous scholarship has examined rehearsal primarily from pedagogical, psychological, or production-oriented perspectives, this study demonstrates that Bakhtin’s theory offers a productive framework for understanding rehearsal as a distinct aesthetic and cultural practice. By establishing a dialogue between Bakhtinian philosophy and the rehearsal methodology of Ariane Mnouchkine, the article extends the application of carnival theory from literary and cultural studies to the practical domain of theatrical creation. More broadly, it contributes to contemporary debates on collaborative theatre, devised performance, intercultural practice, and performance research by repositioning rehearsal as the primary site where theatrical knowledge is produced. Ultimately, rehearsal as carnival is not proposed as a specific directing technique or rehearsal method but as a philosophy of artistic creation. It is a mode of practice founded upon collective participation, the temporary dissolution of fixed structures, embodied experimentation, and the continual emergence of new theatrical possibilities. In a theatrical culture where aesthetic conventions quickly become institutionalized and repetitive, the carnivalesque rehearsal offers a critical alternative that restores uncertainty, dialogue, play, and transformation to the center of the creative process. It is within this liminal and carnivalesque space that theatre continuously reinvents not only its performances but also its bodies, languages, relationships, and ways of imagining the world. این مقاله به بررسی فرایند تمرین‎های تئاتر می‎پردازد و می‎کوشد چیستی و چگونگی وضعیت ذهنی، بدنی و خلاقانه کارگردان، بازیگران و دیگر عوامل اجرایی را در پلاتوهای تمرین، بر اساس گزیده‎ای از مفاهیم کارناوالی میخائیل باختین و با تمرکز بر شیوه‎های اجرایی آرین منوشکین، تحلیل کند. پرسش اصلی پژوهش آن است که چگونه می‎توان فضای تمرین را نه صرفاً مرحله‎ای مقدماتی برای تولید اجرا، بلکه عرصه‎ای کارناوالی و آستانه‎ای برای آفرینش هنری در نظر گرفت. این پژوهش با روش توصیفی_تحلیلی و با اتکا به مفاهیم کلیدی نظریۀ کارناوال باختین، از جمله تعلیق سلسله‎مراتب، وارونگی نظم، بدن گروتسک، بازی، آزادی و خنده، نشان می‎دهد که فضای تمرین‎های تئاتر می‎تواند به طور موقت از قواعد تثبیت‎شده تولید فاصله بگیرد و بستری برای تجربه، آزمون و قانون‎شکنی خلاقانه فراهم آورد. در این وضعیت، پلاتوی تمرین به تجربه‎ای کارناوالی برای گروه اجرایی تبدیل می‎شود؛ فضایی که در آن روابط قدرت بازتعریف می‎شوند، هرم سنتی اقتدار میان کارگردان و بازیگران تضعیف می‎شود و امکان مشارکت خلاقانه همه اعضای گروه افزایش می‎یابد. بلک‎باکسِ پلاتو، به عنوان فضایی خنثی و انعطاف‎پذیر، بازیگران را از نقش‎ها، عادت‎ها و قراردادهای تثبیت‎شده رها می‎کند و آنان را به سوی تجربه‎هایی پیش‎بینی‎ناپذیر سوق می‎دهد. در چنین بستری، بدن بازیگر دیگر بدن متعارف و منضبط نیست، بلکه به تعبیر باختین، بدنی گروتسک، سیال، دگرگون‎شونده و کارناوالی است که ظرفیت آفرینش و دگردیسی را در خود حمل می‎کند. برای تبیین این دیدگاه، فرایند تمرین و برخی اجراهای شاخص آرین منوشکین، از جمله می‎گذرد، عصر طلایی، 1789، آتریدها و ریچارد دوم، به عنوان نمونه‎هایی از تجربه‎های کارناوالی تحلیل شده‎اند. یافته‎های پژوهش نشان می‎دهد که شکل‎گیری موقت فضایی کارناوالی در مکان_زمان تمرین، امکان ظهور روابط جمعی، تخیل، بداهه‎پردازی، ریسک‎پذیری و کشف راهکارهای اجرایی نو را افزایش می‎دهد و در نهایت به تولید آثاری خلاق، غیر کلیشه‎ای و ماندگار می‎انجامد. از این منظر، تمرین به مثابه کارناوال صرفاً یک تکنیک یا سبک تمرین نیست، بلکه نگرشی بنیادین به فرایند خلق در تئاتر است؛ نگرشی که بر مشارکت جمعی، فروپاشی نظم پیشین، زایش نظم نوین و دگرگون‎سازی بدن، زبان، روابط انسانی و جهان اجرایی تأکید دارد و می‎تواند پاسخی انتقادی و نوآورانه به ساختارهای ایستا و تکرارشونده تولید تئاتر معاصر باشد.

https://journal.theater.ir/article_245140_4e93d36e6cb1abc458b10f484cdd3457.pdf

انجمن هنرهای نمایشی ایران تئاتر 17350235 13 2 2026 08 23 The Meaning of Modernity in the Thought and Dramatic Works of Grigor Yeqhikian: An Interpretation Based on the Ideology of the Hunchakian Social Democratic Party معنای تجدد در اندیشه و آثار نمایشی گریگور یقیکیان بر اساس ایدئولوژی حزب سوسیال‎دموکرات هنچاکیان 51 68 247239 10.22034/theater.2026.580219.1169 FA عرفان ناظر استادیار، گروه هنرهای نمایشی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران. 0009-0005-3202-8977 Journal Article 2026 05 13 This article investigates the historical semantics of the concept of modernity in the political thought and dramatic works of Grigor Yeqhikian by reconstructing its meaning through the ideological framework of the Hunchakian Social Democratic Party. Rather than adopting Reinhart Koselleck’s Conceptual History (Begriffsgeschichte) as its theoretical framework, the study draws methodological inspiration from its historical-semantic perspective while reconstructing the concept of modernity on the basis of the Hunchakian Party’s ideological principles, political documents, and historical experience. Modernity is therefore examined not as a fixed philosophical category but as a historically contingent political concept whose meaning is constituted through ideological discourse and political practice. Examining the concept of modernity and its successive interpretations within the history of Iranian dramatic literature is particularly significant because it constituted one of the conceptual foundations upon which modern Persian drama emerged. Consequently, every interpretation of modernity within this literary tradition simultaneously represents an interpretation of one of the constitutive concepts underlying the formation of modern Iranian dramatic literature. After arriving in Iran in 1910 as a representative of the Hunchakian Social Democratic Party, Grigor Yeqhikian became the first playwright in the history of Iranian drama to introduce socialist—and, more specifically, social democratic—thought into dramatic literature in a systematic and programmatic manner. Building upon this ideological foundation, he developed a distinctive understanding of modernity that informed both his political writings and dramatic works. Earlier playwrights, from Mirza Fath Ali Akhundzadeh to Mirzadeh Eshqi, likewise offered influential interpretations of modernity. None of them, however, grounded their conception of the modern in the social democratic ideology of the Hunchakian Party, nor did they share Yeqhikian’s broader intellectual and political objective of familiarizing Iran’s revolutionary generation with the principles of socialism and democracy through the medium of theatre. Within this intellectual and political milieu, Yeqhikian produced his dramatic works between 1924 and 1936, conceiving theatre not merely as a literary form but also as a mirror reflecting the virtues and deficiencies of human morality and as an instrument for the ethical cultivation of Iranian society. This conception of theatre cannot, however, be separated from his ideological commitments. His understanding of theatre—as well as his interpretations of history, politics, morality, and social reform—becomes fully intelligible only when situated within the broader horizon of his commitment to social democracy and the political programme of the Hunchakian Social Democratic Party. From this perspective, interpreting the meaning of modernity in Yeqhikian’s dramatic works necessarily begins with an examination of his political thought and, more specifically, the semantic field constituted by his socialist worldview. Accordingly, this study adopts a descriptive-analytical method. While drawing methodological inspiration from the historical-semantic perspective of conceptual history, its analytical framework is derived primarily from the historical development, ideological principles, and political documents of the Hunchakian Social Democratic Party rather than from Koselleck’s theoretical model. This approach makes it possible to establish, on the basis of historical evidence, the intellectual continuity between Yeqhikian’s political writings and dramatic works while reconstructing the historically situated meanings that the concept of modernity acquired within his socialist political thought. Following a concise historical account of the formation of the Hunchakian Social Democratic Party in Geneva, its subsequent activities in the Ottoman Empire, its introduction into Iran, and its contribution to the Iranian Constitutional Revolution, the article turns to Yeqhikian’s principal political writings, including The Constitution of the Iranian Social Democratic Party (1910), What Do the Social Democrats Say? (1910), The Contemporary Views of the Iranian Social Democrats (1911), and A Memorandum to All Iranians (1927). These texts constitute the principal corpus through which the ideological foundations of Yeqhikian’s dramatic works are reconstructed. Drawing upon the central themes articulated in these writings, the analysis is organized around the following conceptual categories: federalism and ethnic pluralism; justice conceived as equality; opposition to the bourgeoisie as a means of overcoming capitalism and private property; progress directed toward the realization of absolute equality; constitutional reform and the centrality of parliament as the institutional precondition for the legal realization of socialism; the rejection of Islamism as a political ideology; the significance of individual agency insofar as it contributes to socialist social transformation; and the primacy of the socialist common good over individual interests. Of Yeqhikian’s numerous dramatic works, only four plays have survived: The War of the East and the West (1922), Anushirvan the Just and Mazdak (1924), The Field of Terror (1929), and Who Is Right? (1929). The present study therefore confines its analysis to these four extant plays. Across these plays, the concept of modernity is articulated through a distinctive semantic constellation whose constituent concepts vary according to each dramatic context. In The War of the East and the West, modernity is associated with the homeland, the Iranian nation, constituent nations, the separation of powers, historical consciousness, progress, science, independence, the new monarchy, and ancient Iran. In Anushirvan the Just and Mazdak, the concept is structured around justice, parliament, and revolution. In Who Is Right, modernity is articulated through women, individual rights, and freedom, whereas in The Field of Terror it is expressed through peace, war, and individual will. The meaning of modernity is simultaneously constituted through a corresponding constellation of counter-concepts (Gegenbegriffe), which delineate its semantic boundaries. These counter-concepts fall into two categories. The first appears in The War of the East and the West and derives from the semantic field of premodernity. Here, modernity is defined in opposition to such concepts as the East, obsolete knowledge, and the old monarchy, each representing elements of the premodern political and intellectual order. The second category emerges from within the semantic horizon of modernity itself. Rather than functioning as external opposites rooted in the premodern past, these counter-concepts represent rival articulations of modernity. In The War of the East and the West, they include the West, Alexander, foreign models of progress, justice, and collective ownership. These concepts therefore function not simply as conceptual opposites but as competing interpretations of the modern that contest Yeqhikian’s socialist understanding of modernity. A comparable semantic structure appears in Who Is Right? and The Field of Terror. In these plays, the counter-concepts emerge exclusively from within modernity itself and constitute what may be described as its negative modality. Although they present themselves as manifestations of the modern, they continue to reproduce social relations inherited from the premodern order. Within this semantic field, justice, the merchant, the bourgeoisie, and war function as counter-concepts, exposing the contradictions of bourgeois modernity by revealing the persistence of premodern structures beneath an ostensibly modern political and social vocabulary. Within this framework, modernity in Yeqhikian’s dramatic works signifies a fundamental reconfiguration of the bourgeois political and social order in accordance with the ideological principles of Hunchakian social democracy. From Yeqhikian’s perspective, bourgeois modernity perpetuates inherited modes of thought and premodern forms of social consciousness under modern historical conditions, thereby obstructing the realization of justice. Modernity consequently presupposes not only the recognition of individual political agency and the collective rights of historically constituted ethnic communities but also the constitutional institutionalization of freedom, equality, and the rights of nations. Here, the term nation is employed in the early twentieth-century socialist sense adopted by Yeqhikian and the Hunchakian Social Democratic Party, referring to collective political communities rather than sovereign nation-states. Within this conceptual framework, parliament functions as the institutional embodiment of collective deliberation and political participation, standing in opposition to the individualism characteristic of bourgeois society. Accordingly, whenever Yeqhikian’s plays—particularly The War of the East and the West and Anushirvan the Just and Mazdak—invoke the idea of Iran, it should not be interpreted as denoting a culturally homogeneous nation-state. Rather, Iran is conceived as a political community composed of multiple historically constituted ethnic communities—or, in Yeqhikian’s socialist vocabulary, multiple nations. National unity therefore depends upon the equal recognition of these constituent communities and their participation in a representative parliamentary order. Equality-based justice thus becomes the constitutional principle through which political unity is achieved without erasing historical and ethnic diversity. From this perspective, the realization of socialist justice does not imply the fragmentation of Iran as a political entity. Rather, it presupposes recognition that the country’s constituent nations—understood in Yeqhikian’s early twentieth-century socialist vocabulary as historically constituted ethnic communities rather than sovereign nation-states—have long existed within Iran as distinct ethnic and tribal collectivities. Socialist justice therefore requires that their collective rights be incorporated into a constitutional order founded upon equality. National unity, in this formulation, is conceived not as the erasure of diversity but as the political outcome of its equal constitutional recognition. A further defining characteristic of Yeqhikian’s conception of modernity is that it does not reject the past merely because it belongs to the past. Rather, those elements of the historical tradition that embody principles compatible with socialism are preserved and reinterpreted as normative resources for imagining a future founded upon absolute equality. The past is therefore neither restored nor idealized; instead, it functions as a historical reservoir from which socialist modernity derives both historical continuity and normative legitimacy. The realization of such a future also requires that freedom be understood primarily in its negative dimension. Socialist ideals become attainable only through the negation of entrenched structures inherited from both the premodern order and bourgeois modernity. Only by overcoming these historical forms of domination can socialist principles be extended to all Iranian peoples and communities. Within this conception of modernity, neither religious domination nor capitalist hegemony possesses normative legitimacy, since individuals are expected to define themselves in relation to the socialist common good rather than private interest. Individuality is therefore meaningful only insofar as it is conditioned by the ideal of absolute equality. Consequently, individualism is never accorded normative priority but remains subordinate to the ethical and political imperatives of socialism. Only under these conditions can a specifically socialist form of modernity—the normative horizon of Yeqhikian’s social democratic project—be realized. موضوع این مقاله تبیین معنای مفهوم تجدد در اندیشه و آثار نمایشی گریگور یقیکیان بر مبنای ایدئولوژی سوسیال‎دموکراسی حزب هنچاکیان است. پرداختن به مفهوم تجدد و تبیین تفاسیر موجود از آن در تاریخ ادبیات نمایشی ایران از این رو اهمیت دارد که این مفهوم بنیاد به وجود آمدن ادبیات نمایشی در ایران بوده است؛ پس هرگونه تفسیری از تجدد در این قلمرو از هنر، تنها تفسیری از یک مفهوم نیست، بلکه تفسیری است از یک مفهوم ‎هستی‎بخش. گریگور یقیکیان که در سال 1289 خورشیدی به عنوان نمایندۀ حزب سوسیال‎دموکرات هنچاکیان به ایران آمد، نخستین نمایشنامه‎نویسی بود که در تاریخ ادبیات نمایشی ایران ایدئولوژی سوسیالیستی و به ویژه سوسیال‎دموکراسی را _ به‎صورت منسجم و هدفمند _ وارد کرد و بر همین مبنا نیز به تفسیر مفهوم بنیادین تجدد در آثار نمایشی خود پرداخت. البته پیش از او نمایشنامه‎نویسانی از میرزا فتحعلی آخوندزاده تا میرزادۀ عشقی معنای تجدد را در آثار خود تفسیر کرده بودند؛ اما هیچ یک از آنان مانند یقیکیان مبنای تفسیر خود را ایدئولوژی سوسیال‎دموکراسی حزب هنچاکیان قرار نداده بودند و هدفشان آن نبود که همچون این نمایشنامه‎نویس، جوانان انقلابی ایران را با عقاید سوسیالیستی و دموکراتیک آشنا کنند. یقیکیان بر همین اساس در میانۀ سال‎های 1303 تا 1315 نمایشنامه نوشت و تئاتر را به عنوان آیینۀ عیب و نقص و محاسن و محامدنمای اخلاق انسانی و وسیله‎ای به جهت تهذیب اخلاق ایرانیان تعریف کرد. بنابراین برای فهمیدن نظر و عمل یقیکیان باید این قید را در نظر داشت که تمامی این تعاریف تنها در چارچوب ایدئولوژی سوسیال‎دموکراسی او و حزب متبوعش قابل تفسیر خواهند بود. اگر چنین فرضی درست باشد، پس باید برای پاسخ به این پرسش که مفهوم تجدد در آثار نمایشی یقیکیان چه معنایی دارد و چگونه تفسیر شده است، بر اندیشۀ سیاسی یقیکیان و به تبع آن میدان معنایی اندیشۀ سوسیالیستی او تمرکز شود؛ از همین‎رو علاوه‎بر آنکه روش این پژوهش توصیفی_تحلیلی خواهد بود، چارچوب نظری مقاله نیز به جای آنکه مبتنی بر نظریات یک نظریه‎پرداز باشد، مبتنی بر مفاد موجود در تاریخ و اسناد ایدئولوژی حزب سوسیال‎دموکرات هنچاکیان صورت‎بندی خواهد شد تا بتوان پیوستگی میان آثار سیاسی و نمایشی یقیکیان را بر اساس شواهد تاریخی آشکار کرد. از یافته‎های پژوهش آن است که تجدد در اندیشه و آثار نمایشی گریگور یقیکیان دلالت بر ایجاد تغییر در نظم بورژوایی حاکم بر سیاست و جامعه دارد؛ لازمۀ چنین امری ستیز با سرمایه‎داری به جهت استقرار برابری به سود حق اقوام، یا به تعبیر سوسیالیستی، ملل ایران است؛ این ایده که از عثمانی وارد ایران شده بود هدفش ایجاد فدرالیسم بود؛ به طوری که ابتدا افراد را به وابستگی‎های قومی فرو کاهد و سپس اقوام مختلف را از ملت واحد ایران جدا کند و سرانجام آنان را ذیل قانون و مجلس شورای ملی به عنوان یک ملت واحد و واجد حق برسازد.

https://journal.theater.ir/article_247239_33c33c6edf32198e97a6ce6a0e1db307.pdf

انجمن هنرهای نمایشی ایران تئاتر 17350235 13 2 2026 08 23 Narrative Analysis of the Representation of the Meaning of Meaning in Drama تحلیل روایت بازنمایی معنای معنا در متون درام و نمایش 69 86 245042 10.22034/theater.2026.563541.1154 FA محمدحسن رحیمی کهمینی دکتری تخصصی رشتۀ فلسفه فرهنگ و انسان‎شناسی فلسفی، آکادمی علوم فلسفه، حقوق و سیاست‎شناسی تاجیکستان، تحت حمایت فدراسیون عالی روسیه. 0009-0003-5634-9869 عبدالواحد عبدالله ویچ شمال اف دانشیار، گروه علم‎های فلسفه، آکادمی علوم فلسفه، سیاست‎شناسی و حقوق، تاجیکستان 0009-0003-5634-9869 Journal Article 2025 12 26 In the realm of modern thought and art, contemporary humanity is increasingly confronted with existential and ontological challenges that have given rise to a profound crisis of meaning. Characterized by doubt, anxiety, meaninglessness, distrust, and a pervasive sense of emptiness, this crisis permeates both individual and collective life. As a result, re-examining the concept of meaning and the ways in which it is formed and represented in cultural and artistic works has become increasingly important, particularly in dramatic and theatrical texts. Against this backdrop, the present study investigates the representation of the meaning of meaning in dramatic and theatrical texts. From this perspective, the central research question does not concern the what of meaning but the how of its construction within the framework of narrative mechanisms. Ultimately, the overarching objective of this study is to transcend purely theme-based readings and to achieve a structural understanding of the phenomenon of meaning in modern texts. The research methodology is grounded in narratological analysis, drawing upon the theoretical model of Gérard Genette, the prominent French structuralist narratologist. This study is descriptive-analytical in nature and qualitative in strategic approach. Utilizing Genette’s analytical framework—which rests upon three fundamental axes, namely time, mood (focalization), and voice—the data are examined through four distinct stages. In the first stage, the three narrative levels—story (events as plot content), narrative (mode of representation), and narrating (the act of telling and the narrator’s position)—are differentiated, as Genette emphasizes that narrative analysis is only possible when these three levels are distinguished from one another. In the second stage, the temporal axis is analyzed through three subcomponents: order (temporal displacements such as analepsis and prolepsis), duration (the ratio between story time and narrative time, realized through scene, pause, summary, and ellipsis), and frequency (repetition and narrative returns). The third stage addresses focalization or mood, examining the transmission of information, point of view, and the degree of the audience’s access to characters’ consciousness. In this stage, three types of focalization are distinguished: internal focalization (access to the character’s mind), external focalization (restriction to external behavior), and zero focalization or omniscient (unlimited access). Finally, the fourth stage analyzes voice and narrative levels, including narrator type (homodiegetic, autodiegetic, or heterodiegetic), narrative time (subsequent, simultaneous, or interpolated), and the various strata of narration (meta-narrative, intra-diegetic, and extra-diegetic). The corpus of this study consists of six seminal and influential works from modern literature, philosophy, and drama, selected purposefully. Furthermore, to mitigate interpretive bias, expert auditing was employed, and all analytical steps were methodically documented to ensure traceability, reviewability, and replicability for other researchers. In addition, the use of direct textual citations and the alignment of results with authoritative theoretical sources increased the dependability of the findings, while precise description of analytical stages guaranteed methodological transparency. The findings clearly indicate that temporal components, focalization, and voice within Genette’s model play a foundational and determining role in shaping, suspending, transforming, or dismantling meaning in modern texts. The crisis of meaning in these works is not merely manifested in theme or explicit content but is represented in the very guise, form, and structure of narrative. In other words, the meaning of meaning in these texts emerges from a dialectical and complex relationship between form and existential experience, such that concepts such as waiting, guilt, alienation, faith, death, and the loss of certainty are not treated as independent subjects but are internalized within the mode of narration, with narrative form itself becoming the embodiment of thought and experience. In the detailed analysis of individual works, first, Waiting for Godot is a play in which the narrative structure is predicated upon the absence of linear progression and the predominance of repetition. From Genette’s temporal perspective, the collapse of linear order and movement within a closed cycle of linguistic and situational repetitions objectifies the timelessness of absurdity. Phrases such as “Nothing to be done” and the motif “Nobody comes, nothing happens” demonstrate that repetition in this work is not merely a linguistic device but the fundamental structure of the characters’ lived experience. Moreover, external focalization, which restricts access to the characters’ interiority, creates a meaningful distance between the audience and the characters, conveying the crisis of meaning through the observation of repetitive and futile situations. The simultaneous voice further intensifies the state of suspension and timelessness. In Crime and Punishment, internal focalization and the narrator’s alignment with Raskolnikov’s turbulent and tormented mind transform guilt and punishment into a psycho-ethical and existential experience. The deceleration of narrative time during critical moments—such as the murder scene and subsequent anxiety—turns the moment of crime from an external event into an extended, compressed, and psychological experience. In contrast, longer temporal periods are narrated through summary, indicating that the significance of time in the novel is subordinate to the psychological and moral weight of events rather than their actual duration. Punishment begins within the narrative and the character’s consciousness long before any juridical verdict is pronounced, and the third-person narrator, by reducing distance from the character’s consciousness, immerses the reader in his psychological space. In The Metamorphosis, the opening sentence, with its neutral and reportorial tone, presents the extraordinary and the uncanny as utterly ordinary, thereby generating semantic suspension and alienation at the formal level of narration. The absolute internal focalization, which imprisons the reader within Gregor’s mind and denies access to other characters’ thoughts, reproduces alienation not only at the thematic level but also at the formal level of narrative. Descriptive pauses and extended scenes in narrative time intensify the entrapment and isolation of the character, transforming the breakdown of human communication into the very structure of narrative experience. The repetition of Gregor’s failed attempts to communicate with his family demonstrates that the central crisis of the work is the collapse of the possibility of human communication through language. In Thus Spoke Zarathustra, the work progresses with an oratorical, allegorical, and poetic structure, distancing itself from linear time and approaching mythical and cyclical time. The idea of “eternal recurrence” imposes a logic of repetition upon the text, producing meaning not through linear reasoning but through allegorical repetition and continuous rearrangement. In the axis of voice, the text oscillates between Zarathustra’s voice and a third-person narrator, causing the text to move between narrative, oratory, and philosophical revelation. This voice does not carry absolute authority but is a mobile, metaphorical, and multi-layered voice that produces meaning in the process of telling and retelling. In Fear and Trembling, Kierkegaard, under a pseudonym, repeatedly retells the narrative of Abraham’s sacrifice of his son from various angles. Repetition here is not simple retelling but a method for exploring different possibilities of meaning. From Genette’s temporal perspective, the text, through repeated returns to a sacred narrative, converts historical time into reflective time, transforming a past event into a present and existential problem. In the axis of mood, focalization is shaped through the consciousness of the narrator-thinker, and the reader encounters an Abraham filtered through anxiety, bewilderment, and reason’s inability to comprehend faith. The meaning of faith does not appear in propositional certainty but is formed in the interval between ethical understanding and the leap of faith. Finally, in The Tragic Sense of Life, Unamuno identifies the fundamental human problem as the conflict between the desire for immortality and the awareness of death. The narrative structure is a mixture of philosophical reflection, direct address, memory, anecdote, and internal debate, with the author, narrator, thinking character, and interpreter largely coinciding. Narrative time is non-linear and associative, moving from memory to argument, from argument to existential questioning, and from questioning to direct address. Internal focalization and self-reflection dominate the text, and the autodiegetic philosophical voice portrays the tragedy of human consciousness as an internal, unfinished, and dynamic process. The final conclusions of the research emphasize that, according to Genette’s theory, narrative is constituted by the three fundamental axes of time, mood, and voice, each of which determines the audience’s apprehension of the textual world and the perception of meaning. The systematic analysis of the selected texts demonstrates that modern authors and playwrights, through conscious and purposeful manipulation of these three components, elevate meaning from the level of explicit message and overt content to that of existential experience and narrative perception. In other words, narrative form is not a neutral and passive container for content but an ontological bearer of meaning itself, and the fundamental crises of modern humanity are manifested in the very manner of their narration. A comparative examination of the works reveals that each text foregrounds one of the fundamental potentials of modern narrative in the production of meaning: Beckett employs repetitive time and external focalization to objectify absurdity. می‎توان ادعا کرد که در گسترۀ انسان معاصر که بی‎معنایی توأم با ترس، تردید و اضطراب بر سپهر آن سایه افکنده است، ضرورت توجه به انسان سرگشته و معنای متوجه به آن، بیش از هر زمان دیگری خود را نمایان می‎کند. معنا نتیجۀ عوامل تأثیرگذار بر درکِ فهم‎کنندۀ متن است و به عنوان یک پدیده قادر است در موقعیت‎های روانی، اجتماعی و فرهنگی متفاوتی تولید شود، و دیگران نیز آن را در موقعیت‎های متفاوت یا مشابهی درک و دریافت کنند. این پژوهش به بررسی سازوکارهای تولید، تعلیق و بازنمایی معنا در متون نمایشی و ادبی مدرن می‎پردازد. مسئلۀ اصلی پژوهش، واکاوی «معنای معنا» و چگونگی شکل‎گیری معنا، نه صرفاً مبتنی بر تحلیل محتوای معنایی آثار، که در سطح ساختار روایت است. نوع پژوهش از حیث ماهیت، توصیفی ـ تحلیلی و از منظر راهبردی، کیفی و مبتنی بر تحلیل روایت ژرار ژنت است. جامعه مورد مداقه در این پژوهش شامل نوشتار و متون درام و برخی از آثار ارزشمند، تأثیرگذار و شریف فلسفی ـ ادبی در جهان نمایش مدرن، از جمله در انتظار گودو، جنایت و مکافات، مسخ، چنین گفت زرتشت، حس غم‎انگیز زندگی و ترس و لرز است. یافته‎های پژوهش نشان می‎دهد که عناصر و مؤلفه‎هایی چون زمان، کانونی‎سازی و صدا در نظریۀ ژنت، نقش بنیادینی در شکل‎دهی، تعلیق و فروپاشی معنا دارند. همچنین، بحران معنا در متون مدرن، نه‎فقط در هیئت مضمون، بلکه در هیبت، فرم و ساختار روایت نیز بازنمایی می‎شود. در نتیجه، روایت در آثار نمایشی مدرن، صرفاً به عنوان ابزار انتقال معنا عمل نمی‎کند، بلکه در اینجا، روایت، خودِ فرایند تولید و بازآفرینی معناست.

https://journal.theater.ir/article_245042_82c01750d0ca862572196be2591cb807.pdf

انجمن هنرهای نمایشی ایران تئاتر 17350235 13 2 2026 08 23 The Institution of Ritual Performance and Its Functions: A Sociological Analysis of Ta’ziyeh in the Naseri Era نهادِ نمایش آیینی و کارکردهای آن: تحلیل جامعه ‎شناختی تعزیه در عصر ناصری 87 103 246866 10.22034/theater.2026.579136.1167 FA فاطمه درخشان استادیار، گروه جامعه ‎شناسی، دانشکدۀ علوم اجتماعی، دانشگاه علامه طباطبائی، تهران، ایران. 0000-0003-3929-5427 مریم کریمی کارشناس ارشد رشتۀ پژوهش هنر، دانشکدۀ هنر، دانشگاه بین‎المللی سوره، تهران، ایران. Journal Article 2026 04 24 The Ta’ziyeh, a poetic, musical, and profoundly ritualistic performance, emerged from the heart of Shia mourning traditions and is centered upon the tragic and spiritually charged events of Ashura, the martyrdom of Imam Ḥusayn and his companions. This ritual performance, which uniquely and inextricably blends elements of religion, art, ethics, and complex social relations into a single, living, and dynamic whole, reached its unparalleled zenith during the fifty-year reign of Naser al-Din Shah Qajar, a transformative period often designated by scholars as the “Golden Age” of the Ta’ziyeh. During this era, it evolved from a simple, spontaneous, and locally organized form of popular devotion into a multifaceted, highly organized, and state-supported “ritual performance institution” firmly established at the very heart of Iran’s urban, political, and cultural life, most notably in the newly constructed capital, Tehran. This period, which coincided with the initial, often unsettling signs of modernization, the increasing penetration of Western culture, the emergence of new media such as the press and photography, and the onset of profound socio-economic transformations, provided an unparalleled and fertile context for the flourishing of this ritual performance. It was a context in which the deeply conflicting forces of raw emotion and calculated rationality, deeply held popular beliefs and overarching state policies, and time-honored indigenous art forms and novel foreign influences engaged in a dynamic, tense, and creatively productive interaction, making the Ta’ziyeh a unique arena for cultural negotiation and symbolic struggle. The present study, adopting a rigorous qualitative approach and a systematic historical-documentary method, undertakes an in-depth examination of the social functions of the Ta’ziyeh in the Naseri era, moving beyond purely descriptive or historical accounts. It specifically investigates the intricate and multi-layered ways in which this institutionalized ritual performance was deeply intertwined with the structures of political power, the active reproduction and public performance of a collective Shia-Iranian identity, and the maintenance and strengthening of social cohesion during a critical historical juncture. The theoretical framework of this research is meticulously grounded in a novel and productive synthesis of two seminal sociological and anthropological theories: Victor Turner’s powerful and influential concepts of “liminality,” “communitas,” and “anti-structure,” which explain the dynamics of ritual processes, and Ferdinand Tönnies’ classic and enduring dichotomy of “Gemeinschaft/Gesellschaft” (community/society), which provides a lens for understanding different forms of social organization. This synthesis is not a mere juxtaposition of concepts but is formally and systematically articulated through the original analytical model of the “liminal institution”, which was specifically devised and formulated in this research to capture the paradoxical and dual nature of the Ta’ziyeh in its historical context. This analytical model demonstrates with clarity and precision that the Ta’ziyeh in the Naseri era was far more than a simple religious performance or a collective mourning ritual; rather, it constituted a complex “liminal institution” that operated simultaneously and effectively on two distinct but interconnected levels. At the macro-social level, the formal rationality, organizational structure, and calculated logic of “Gesellschaft”—manifested concretely in the construction and spatial organization of the grand Takyeh Dowlat (the Royal Theater); the systematic state funding and court patronage; the formation and professionalization of dedicated performance troupes; the meticulous division of labor; and the written, authored scripts—were strategically and purposefully placed in the service of reproducing the most deeply affective, emotionally charged, and spiritually binding elements of “Gemeinschaft,” including profound social solidarity, a commonly held and intensely felt religious faith, and the enduring, pre-modern bonds of tradition and kinship. In other words, the cold, calculating rationality of the modernizing state and society was paradoxically employed to manufacture, sustain, and amplify the warm, organic solidarity of traditional community, creating a deeply paradoxical but highly functional amalgamation. At the micro-social and experiential level, by creating a powerful and immersive “liminal space” within the carefully designed architectural container of the Takyeh Dowlat, the institution provided an intense, shared, and multi-sensory experience of “communitas” for spectators drawn from the most diverse and stratified social classes, from the Shah and his courtiers down to the humblest urban and rural dwellers, thereby temporarily dissolving or suspending the rigid, hierarchical, and seemingly immutable social boundaries and distinctions that governed everyday life in Qajar Iran. The findings of this research reveal a crucial and original insight: this seemingly liberating and equalizing communitas was, in fact, a carefully “controlled anti-structure,” a concept that constitutes one of the key theoretical innovations of this study. The profoundly egalitarian, justice-seeking, and inherently anti-structural emotional and symbolic energy embedded in the sacred narrative of Ashura—with its stark moral contrast between the righteous, oppressed Imam Ḥusayn and the tyrannical, illegitimate Caliph Yazid—was not allowed to flow freely or to translate into any form of genuine political threat to the established order. Rather, it was strategically acknowledged, publicly honored, and even spectacularly celebrated, but simultaneously and effectively harnessed, channeled, and contained within the meticulously managed, architecturally hierarchical, and symbolically charged space of the Takyeh Dowlat, under the watchful and legitimizing symbolic presence of Naser al-Din Shah himself, who watched the performance from a special royal chamber. Through this ingenious and largely implicit mechanism of ritual management and spatial control, the potentially subversive and destabilizing energy of the Ashura narrative was deftly transformed from a latent threat to the political order into a powerful and renewable source for the continuous reproduction, reinforcement, and public affirmation of monarchical legitimacy and the sanctified authority of the Qajar state apparatus. The documentary sources analyzed in this study, including the memoirs of courtiers such as Etemad al-Salṭanah’s “Ḥujjat al-Sa’ada fi Ḥujjat al-Shahada,” the travelogues of foreign diplomats like Count de Gobineau, and the remaining visual evidence such as Kamal al-Mulk’s paintings and photographs of the Takyeh Dowlat, consistently attest to the central role of the Ta’ziyeh in the cultural and political landscape of the Naseri period. These sources reveal not only the immense scale and lavish expenditure devoted to the performances, but also the active and visible participation of the Shah himself, who attended the Ta’ziyeh regularly, and the diverse social composition of the audiences, which included courtiers, religious scholars, merchants, guild members, artisans, common urban dwellers, and even, on occasion, non-Muslim religious minorities such as Christians and Zoroastrians. This broad and heterogeneous participation transformed the Ta’ziyeh into a veritable microcosm of Qajar society, a space where the hierarchical social order was both visibly affirmed through segregated seating arrangements and momentarily transcended through the shared, emotionally overwhelming experience of collective grief and sacred lamentation. The professionalization of the performers, some of whom achieved considerable fame and were directly patronized by the court, alongside the literary refinement of the scripts by court poets and scribes, further illustrates the institutionalization and rationalization of what had once been a predominantly folk and spontaneous ritual practice, reinforcing its dual character as both a living tradition of the community and a calculated instrument of the state. Thus, the study concludes that the Ta’ziyeh in the Naseri era functioned as a sophisticated and highly effective “ritual-political technology,” a concept that encapsulates the seamless fusion of sacred ritual practice and calculated political utility. By masterfully and paradoxically intertwining the seemingly opposed forces of modern instrumental logic and enduring traditional structures, it successfully engendered a distinct, indigenous, and historically specific form of “ritualistic modernity” in Iran. This was a modernity that did not advance through the wholesale elimination, suppression, or secular rejection of deeply rooted Shia traditions, as predicted by classical, linear theories of modernization. Instead, it advanced through the strategic appropriation, calculated rationalization, spectacular elaboration, and symbolic direction and control of the most powerful, emotionally resonant, and socially embedded traditional institutions. These comprehensive findings demonstrate that, on the critical historical threshold of Iran’s complex and often turbulent entry into modern social, political, and cultural relations, the Ta’ziyeh played a decisive, multifaceted, and previously under-analyzed role in actively and continuously reproducing a deeply felt Shia-Iranian collective identity, powerfully strengthening the fabric of social cohesion across class and regional lines, and effectively legitimizing the ruling political structure by presenting it as the divinely sanctioned protector and patron of the nation’s most sacred rituals and narratives. تعزیه، نمایشی آیینی، منظوم و موسیقایی، از دل عزاداری‎های شیعی برخاسته و حول واقعۀ عاشورا شکل گرفته است. این نمایش آیینی که عناصر دین، هنر، اخلاق و مناسبات اجتماعی را در خود می‎آمیزد، در دوران پنجاه‎سالۀ سلطنت ناصرالدین‎شاه قاجار به اوج شکوفایی خود رسید و از شکلی ساده و خودجوش به «نهاد نمایش آیینی» سازمان‎یافته و چندوجهی در کانون حیات شهری و سیاسی ایران تبدیل و تثبیت شد. این دوره که هم‎زمان با نخستین نشانه‎های مدرنیزاسیون، نفوذ فرهنگ غربی، ظهور رسانه‎های نوین و آغاز دگرگونی‎های اجتماعی_اقتصادی بود، بستری بی‎نظیر برای بالندگی این نمایش آیینی فراهم آورد؛ بستری که در آن نیروهای متعارض عاطفه و عقلانیت، باورهای مردمی و سیاست‎های حکومتی، و هنر بومی و تأثیرات فرهنگی در تعامل و کشمکشی پویا با یکدیگر قرار می‎گرفتند. پژوهش حاضر با رویکرد کیفی و روش تاریخی_اسنادی، کارکردهای اجتماعی تعزیه در عصر ناصری را واکاوی می‎کند و چگونگی پیوند این نهاد نمایشی با ساختارهای قدرت، بازتولید هویت جمعی و انسجام اجتماعی را بررسی می‎نماید. چارچوب نظری بر پایۀ تلفیق مفاهیم «فضای آستانه‎ای، جماعت و ضدساختار» از ویکتور ترنر و دوگانۀ «اجتماع/جامعه» از فردیناند تونیس استوار است و در قالب مدل تحلیلی «نهاد آستانه‎ای» صورت‎بندی شده است. این مدل نشان می‎دهد که تعزیه در عصر ناصری نه صرفاً یک نمایش مذهبی، که نهادی بود که هم‎زمان در دو سطح کلان و خرد عمل می‎کرد: در سطح کلان، عقلانیتِ «جامعه» (تکیه دولت، تأمین مالی دولتی، گروه‎های حرفه‎ای) در خدمت بازتولید عاطفی‎ترین عناصرِ «اجتماع» (همبستگی، ایمان مشترک، پیوندهای سنتی) قرار می‎گرفت و در سطح خرد، با خلق فضای آستانه‎ای، تجربه‎ای از جماعت را برای تماشاگران طبقات گوناگون فراهم می‎کرد. یافته‎ها نشان می‎دهد که این جماعت یک «ضدساختار مهارشده» بود؛ انرژی برابری‎خواهانه و ضدساختاریِ نهفته در روایت عاشورا، در ساختار کاملاً کنترل‎شدۀ تکیه دولت و با حضور نمادین شاه، مهار می‎گردید و به جای تهدید نظم سیاسی، به منبعی برای بازتولید مشروعیت سلطنت تبدیل می‎شد. اسناد تاریخی بررسی‎شده، از جمله خاطرات درباریان، سفرنامه‎های دیپلمات‎های خارجی، و تصاویر برجای‎مانده از تکیه دولت، به روشنی گواهی می‎دهند که این نهاد نمایشی چگونه به طور هم‎زمان هم همبستگی اجتماعی را در میان اقشار گوناگون تقویت می‎کرد و هم با مدیریت عواطف جمعی، پایه‎های اقتدار سیاسی دربار قاجار را تحکیم می‎بخشید. بدین‎ترتیب، تعزیه در عصر ناصری یک «فناوری سیاسی-آیینی» بود که با درهم‎تنیدگی منطق مدرن و ساختار سنت، نوعی «مدرنیتۀ آیینی» خاص ایران را رقم زد؛ مدرنیته‎ای که نه با حذف سنت، که با مصادره، عقلانی‎سازی و هدایت نمادینِ قدرتمندترین نهادهای سنتی پیش می‎رفت. این یافته‎ها نشان می‎دهد که تعزیه در آستانۀ ورود ایران به مناسبات مدرن، نقشی تعیین‎کننده در بازتولید هویت جمعی شیعی_ایرانی، تقویت انسجام اجتماعی و مشروعیت‎بخشی به ساختار سیاسی حاکم ایفا می‎کرد.

https://journal.theater.ir/article_246866_ac91109b7d19525d900b5db07661c3b9.pdf