Relevant bibliographies by topics / IRAA Theatre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'IRAA Theatre'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "IRAA Theatre"

1

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

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The commemoration of sacrifice and martyrdom in the Iran–Iraq war led to dissemination of the ‘sacred defence’ culture and its theatre progeny – the Arzeshi genre, which is rooted in Shi’i religious values, Persian culture, and Iranian performance traditions. In response to this, Iranian anti-war theatre practitioners have intervened through a counter-conduct theatricality made up of characters, stories, reasoning, embodied emotions, and scenic languages. A thematic and aesthetic analysis of three stagings of the anti-war play The Whispers Behind the Front Line by the prominent Iranian playwri
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Rodiņa, Ieva, and Ērika Zirne. "Teātra kritika Covid-19 pandēmijas laikā (2020–2022)." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 29 (February 22, 2024): 234–48. http://dx.doi.org/10.37384/aplkp.2024.29.234.

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The experience of the pandemic period (2020–2022) has become part of the recent history of Latvian theatre, and the purpose of this article is to analyse the adaptation of criticism to the ‘new normal’ in terms of both form and content. The article’s research object is the reviews by theatre critics in the Latvian printed press and electronic media during the period of pandemic restrictions – from March 13, 2020, until spring 2022. After March 13, 2020, when the first outbreak of Covid-19 began in Latvia, inevitable confusion arose not only in theatres but also in the press writing about the t
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Malpede, Karen. "Theatre of Witness: Passage into a New Millennium." New Theatre Quarterly 12, no. 47 (1996): 266–78. http://dx.doi.org/10.1017/s0266464x00010265.

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Karen Malpede's monologue, ‘Baghdad Bunker’, whose origins in an experience of vicarious empathy she describes in the following article, was first performed by Ruth Maleczech at La Mama in June 1991. It subsequently became the centrepiece of Malpede's play Going to Iraq, about life in New York during the Gulf War. Later, in The Beekeeper's Daughter, she addressed our lack of empathy in the face of ‘racial cleansing’ in the former Yugoslavia. Here, Karen Malpede uses both this latter play and a play by the dissident Croatian playwright Slobodan Snajder, Snakeskin, as examples of an approach to
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Magelssen, Scott. "Rehearsing the “Warrior Ethos”: “Theatre Immersion” and the Simulation of Theatres of War." TDR/The Drama Review 53, no. 1 (2009): 47–72. http://dx.doi.org/10.1162/dram.2009.53.1.47.

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To pre-expose deployment-bound troops to combatants' unconventional tactics, the Army has constructed vast simulations of wartime Iraq and Afghanistan. Termed “Theatre Immersion,” these sites feature entire towns bustling with costumed villagers. The largest facility is at Fort Irwin in the Mojave Desert. It is part of a long tradition of performance and war games, but never before has a military simulation worked to produce an environment with this kind of scale and attention to fidelity.
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Westgate, J. Chris. "David Hare's Stuff Happens in Seattle: Taking a Sober Account." New Theatre Quarterly 25, no. 4 (2009): 402–18. http://dx.doi.org/10.1017/s0266464x09000682.

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As The Power of Yes, the third play by David Hare to document recent history, opens at London's National Theatre, J. Chris Westgate examines in this article Hare's Stuff Happens in a regional production in the United States, at Seattle's A Contemporary Theater in 2007. He tracks the emphasis placed on controversy during the advertising and marketing of the play, which stands in direct contrast to the response to the play, which was received with self-satisfaction rather than increased insight in this highly liberal city. From this contrast, he discusses the way that this production of Hare's p
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6

Nabil Mahmoud Abdullah, Neval. "Fragmented Psyches and Devastating Testimonies: Staging the Post- Traumatic Experience in Iraq through Heather Raffo's 'Nine Parts of Desire' and Judith Thompson's 'Palace of the End'." International Journal of Arabic-English Studies 17, no. 1 (2017): 109–26. http://dx.doi.org/10.33806/ijaes2000.17.1.6.

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How to represent the trauma of others so that it can still affect the spectators, shock them into recognition, and, above all, prompt them to act against war – is a crucial question posed by both women dramatists, Heather Raffo and Judith Thompson, in their two prominent theatrical reflections on war in Iraq, namely, Nine parts of Desire and Palace of the End, respectively. The present paper aims to prove that the plays under consideration are attached to fact and research, yet they skirt the boundaries of what we conventionally consider 'documentary' theatre by shifting the emphasis from the
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7

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

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8

Tehrani, Maryam Dadkhah, and Neda Parsa. "Theatre and the Empowerment of Women’s Voices in Early Modern Iran." TDR: The Drama Review 69, no. 2 (2025): 75–100. https://doi.org/10.1017/s1054204325000012.

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The rise of theatre in Iran during the Constitutional Revolution (1905–1911) coincided with significant shifts in Iranian society, particularly in the areas of women’s rights, the push for gender equality, and the emergence of nationalism. Theatre served as a platform for, and actively contributed to, these transformative movements. The role of women’s issues in Iran was distinct from their representation in Western perspectives on so-called third world societies.
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9

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

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From Israel, Liberia, and Iraq, where conflict and war are the rule, come stories about performances and workshops in the tradition of Augusto Boal's Theatre of the Oppressed. The author found both strengths and limitations in Forum Theatre.
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10

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

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

1

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

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2

Emami, I. "The evolution of traditional theatre and the development of modern theatre in Iran." Thesis, University of Edinburgh, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381673.

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3

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

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<p> This paper is presented in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre Lighting Design. This paper examines the lighting design of <i>Ajax in Iraq</i>. This gives the point of view of the production, the approach taken and self-evaluation of the success and failures therein.</p>
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Shahriari, Khosrow School of Media Film &amp Theatre UNSW. "Breaking down borders and bridging barriers: Iranian Taziyeh Theatre." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2006. http://handle.unsw.edu.au/1959.4/26310.

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In the twentieth century, Western theatre practitioners, aware of the gap between actor and spectator and the barrier between the stage and the auditorium, experimented with ways to bridge this gap and cross barriers, which in the western theatrical tradition have been ignored over the centuries. Stanislavski, Meyerhold, Piscator, Brecht, Grotowski, and more recently Peter Brook are only a few of the figures who tried to engage spectators and enable them to participate more fully in the play. Yet in Iran there has existed for over three centuries a form of theatre which, thanks to its unique m
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Al, Jumaili Abbas Kadhum. "Al Ta'azi performance in Iraq : a study of their literary, social and political significance." Thesis, University of Portsmouth, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311187.

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

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Fallahnejad, Naeimeh. "L'influence du théâtre français sur le théâtre moderne persan." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0218/document.

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Le théâtre persan moderne est véritablement né au XIXe siècle, avec la découverte du théâtre occidental. Les hommes politiques éclairés ont tenté de moderniser la Perse en envoyant des étudiants en France pour apprendre les sciences modernes. Rentrés au pays, ces étudiants avaient un vif intérêt pour la culture française, y compris pour le théâtre. En outre, en Perse, nous constatons également la montée d’une classe bourgeoise où se développaient des idées réformistes et néo-religieuses. C’est sur ce fond de réformes et de mutations économiques, politiques et sociales que se crée la nouvelle f
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Khajehi, Yassaman. "L’hybridité marionnettique iranienne." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100170.

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La marionnette iranienne, par son fonctionnement, son rôle et son comportement esthétique et sociopolitique sur les scènes théâtrales et à la télévision, est un objet et une sorte de personnage hybride : tout en exhibant la nature hybride de cette forme théâtrale, la démarche marionnettique souligne le « grand » pouvoir de cette « petite » chose mineure et trouve un espace pour jouer avec ce même pouvoir. Ainsi, la marionnette en Iran, depuis au moins dix siècles, participe à un « jeu » au-delà des jeux marionnettiques, tout en résistant aux changements de la société. Elle se renouvelle donc e
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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 e
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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’examine
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Books on the topic "IRAA Theatre"

1

Cuocolo, Renato. Interior sites project: Il teatro di Cuocolo/Bosetti : IRAA Theatre. Titivillus, 2017.

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2

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

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

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Akbarʹzādah, Taqī. Kitābshinākht-i tāʼtr-i muqāvimat. Anjuman-i Tāʼtr-i Inqilāb va Difā-i Muqaddas, 2006.

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5

Scotland, National Theatre of, ed. The National Theatre of Scotland's Black Watch. Faber, 2010.

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Ḥusaynīʹmihr, Nāṣir. Tiʼātr dar Īrān az kūditā tā inqilāb: Theatre in Iran from the coup to the revolution. Nashr-i Māhrīs, 2021.

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7

Hassen, Najaat Essa. Brecht-Rezeption im Irak, in Syrien und Ägypten seit den sechziger Jahren bis 2008. Logos Verlag, 2010.

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Air Force History and Museums Program (U.S.), ed. Lucrative targets: The U.S. Air Force in the Kuwaiti Theater of Operations. Air Force History and Museums Program, U.S. Air Force, 2001.

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9

Isaloo, Amin. Power, Legitimacy and the Public Sphere: The Iranian Ta'ziyeh Theatre Ritual. Taylor & Francis Group, 2017.

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Rahimi, Babak. Performing Iran: Culture, Performance, Theatre. Bloomsbury Publishing Plc, 2021.

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Book chapters on the topic "IRAA Theatre"

1

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

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Rubin, Don. "Iran." In World Encyclopedia of Contemporary Theatre Volume 4: The Arab World. Routledge, 2003. http://dx.doi.org/10.4324/9780203168042-26.

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Al-Mufraji, Ahmad Fiyyaad, Sami Abd Al-Hameed, Abd ul-Ilaah Kamaal Ud-Deen, et al. "Iraq." In World Encyclopedia of Contemporary Theatre Volume 4: The Arab World. Routledge, 2003. http://dx.doi.org/10.4324/9780203168042-27.

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

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

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

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Shay Shaul. "Al Qaeda and the Hybrid Jihad." In NATO Science for Peace and Security Series - D: Information and Communication Security. IOS Press, 2010. https://doi.org/10.3233/978-1-60750-611-9-31.

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In the 21 century the theater of the conflict and the war between Al Qaeda, the Global Jihad and their adversaries is located in two spheres: the &amp;ldquo;Real&amp;rdquo; theater of the jihad (Iraq, Afghanistan, Kashmir, Somalia, Palestine) and the &amp;ldquo;Virtual&amp;rdquo; theater of jihad (the cyber space, media). In order to win the war against the radical Islam it is necessary to develop a global comprehensive strategy that should engage simultaneously Al Qaeda and other jihadi entities on both &amp;ldquo;Real&amp;rdquo; and &amp;ldquo;Virtual&amp;rdquo; theaters.
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"IRAN." In World of Theatre 2003 Edition. Routledge, 2003. http://dx.doi.org/10.4324/9780203682647-35.

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Anjo, Liliane. "Contemporary Iranian Theatre." In Cultural Revolution in Iran. I.B.Tauris, 2013. http://dx.doi.org/10.5040/9780755607549.ch-006.

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ter Haar, Johan G. J. "Ta’ziye: Ritual Theatre from Shi’ite Iran." In Theatre Intercontinental. BRILL, 1993. http://dx.doi.org/10.1163/9789004648173_011.

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Conference papers on the topic "IRAA Theatre"

1

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

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Protecting a soldier’s head from injury is critical to function and survivability. Traditionally, combat helmets have been utilized to provide protection against shrapnel and ballistic threats, which have reduced head injuries and fatalities. However, home-made bombs or improvised explosive devices (IEDs) have been increasingly used in theatre of operations since the Iraq and Afghanistan conflicts. Traumatic brain injury (TBI), particularly blast-induced TBI, which is typically not accompanied by external body injuries, is becoming increasingly prevalent among injured soldiers. The response of
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Mitrea, Ioan. "LEARNING THROUGH STRATEGIC COMPUTER GAMES IN MILITARY TRAINING." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-061.

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This paper describes the games based learning in continuous training for military personal in order to increase their capacity to assume the functions or leadership roles from the organization chart and includes any combination of courses, applications and participation in the theatres of operations in Afghanistan, Iraq and Kosovo. Today the military training has a specific character given by the possibility for simulation war games in conditions close to reality. To be well prepared army it is necessary to assure a balance between classical training and simulated tactical situations through s
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Reports on the topic "IRAA Theatre"

1

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

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Santopinto, Federico, Louise Souverbie, Gustavo Müller, Gustavo Ramírez Buchheister, Ester Sabatino, and Cornelius Adebahr. Case Studies of the EU’s Actions in the Field of Conflict Resolution, Prevention and Mediation. EsadeGeo. Center for Global Economy and Geopolitics, 2023. https://doi.org/10.56269/202306fs.

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Based on the analytical framework advanced in ENGAGE Working Paper 18, this article assesses the European Union's (EU) ability to implement integrated external action in conflict prevention, mediation and resolution. The article builds on the analysis of four crisis/conflict theatres around the world (Kosovo, Somalia, Iran and Colombia), where the EU became involved at different phases of the conflict cycle. Each section thus considers the rationale of the EU’s engagement in the specific type of conflict or crisis, as well as its main objectives and interests; then reviews the instruments depl
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Mehra, Tanya, Merlina Herbach, Devorah Margolin, and Austin C. Doctor. Trends in the Return and Prosecution of ISIS Foreign Terrorist Fighters in the United States. ICCT, 2023. http://dx.doi.org/10.19165/2023.3.04.

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Approximately 300 Americans are estimated to have traveled or attempted to join the Islamic State (ISIS) as part of the group’s campaign in Syria and Iraq between 2013 and 2019. These individuals joined more than 53,000 men, women, and minors from roughly 80 countries. Often referred to as foreign (terrorist) fighters (FTF), these are individuals from third countries who travel to join a terrorist group to support its activities. In the United States (U.S.) context, the FTF designation does not denote the act of fighting itself, but rather the support of a designated foreign terrorist organiza
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