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Journal articles on the topic 'IRAA Theatre'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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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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2

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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3

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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4

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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5

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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11

Abdollahi, Hooman, and Seyed Babak Ebrahimi. "Modeling and Investigating the Economy and Production Structure of Iran Public Theater." International Journal of System Dynamics Applications 8, no. 1 (2019): 60–78. http://dx.doi.org/10.4018/ijsda.2019010104.

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Cultural productions are considered as a sign of civilization in modern societies. Theater is known as an important type of cultural productions, playing important role in the cultural economy of a society. Due to complexities of socio-economic interactions, this sector needs dynamic investigation to illuminate different aspects of possible potentials and threats. The present paper tries to find relationships between Iran public theater economy and production structure based on a dynamic model including all economic stages, namely production, distribution, and consumption to achieve a solid pe

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12

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

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The war launched by America and its allies against the country of Iraq on 2003 was a debatable and notorious war for the public opinion was shocked with the realization that the reasons for launching the war under the title ‘Iraq’s Mass Destruction Weapons’ were false. The tragic consequences of this war led many writers around the world to question the policy of the United States and its manipulation of facts to justify their narratives. The present study examines the American policy of invading Iraq in David Hare’s Stuff Happens. It investigates Hare’s technique of combining documentary real

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13

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

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14

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

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We open this issue of Theatre Survey with Marvin Carlson's essay on how the events of 9/11 and the subsequent wars with Afghanistan and Iraq have affected New York theatre. At the core of Carlson's essay is a very subtle depiction of theatre forced by world events to contemplate anew its understanding of history and its understanding of the role that theatre has to play in history. Carlson's essay offers us an image of theatre communities that, in their responses to the deeply troubling events of the past two and a half years, have struggled to understand whether theatre is outside or inside o

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15

Alhajri, Khalifah. "Ritual and Drama." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 2, no. 1 (2019): 8–26. https://doi.org/10.31866/2616-759x.2.1.2019.170745.

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The purpose of the article is to study the nature of the ritual relationship and theater on the example of the Muslim ceremonial theatrical performance of the Ta’zijah – the Shi’i passion play. The chosen problem caused the broad context of the study. In particular, the author draws attention to the peculiarities of the combination of ritual and theater in ancient Greece, as well as in the European and American culture of the twentieth century. In addition, the specificity of ritual and theater connections in other cultures, including Chinese and Japanese, is monitored. Consi

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16

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

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Iraj Jannatie Ataie (b. 1947), renowned in Iran as a poet, playwright and songwriter, was imprisoned under the Shah and is now in exile from the Khomeini regime. He lives in Britain, where several of his plays have recently been staged to great critical acclaim. Prometheus in Evin, staged in Farsi at the Royal Court in London last year, was hailed by The Guardian as ‘a brilliant and compelling universal story … which must place [Ataie] in the forefront of international playwrights today’. The play, which examines with ruthless honesty the lot of. the intellectual under repressive regimes, has

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17

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

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18

Mohtadi, Niloofar. "Concert theatre, a new genre of contemporary Iranian musical." Studies in Musical Theatre 18, no. 3 (2024): 251–62. https://doi.org/10.1386/smt_00171_1.

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Iran has various genres of musicals. Some, like ta’ziyeh, date back to medieval times; others are more recent, including konsert namayesh (‘concert theatre’), which has been dominant on Tehran’s stages in the past decade. This article examines the features of concert theatre, focusing on its development, structure and patterns. I also discuss how this musical style is a product of Iran’s current social climate and provide a contextualized analysis of the musical Sii (30) as a case study. Drawing on available reviews and press coverage of Sii, I observe how concert theatre shows reflect the tas

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19

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

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20

Filippini, Bianca Maria. "The History of Theater in Iran." Middle Eastern Literatures 18, no. 2 (2015): 202–7. http://dx.doi.org/10.1080/1475262x.2014.928044.

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21

Yoon, Seo Hyun. "Identity Restoration Project in Novaya Drama: Focusing on Representation of Narrative Self in I. Vyrypaev’s drama." Institute for Russian and Altaic Studies Chungbuk University 27 (August 31, 2023): 81–108. http://dx.doi.org/10.24958/rh.2023.27.81.

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This study aims to analyze the narrative structure and the narrator-character's feature of Ivan Vyrypaev's drama as a part of a wide-ranging attempt to explain characteristics of Novaya drama, which has at its core the problem of the construction of the narrative self and the restoration of identity. Vyrypaev's early plays, including <Oxygen>, <Genesis No.2>, and <July>, represent the mental wanderings of modern people through the provocative subjects, intermittent scene changes, and the narrator-character's fast rap-text. These works reveal the situation of mental wand

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22

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

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The coinings of ‘verbatim theatre’ and the ‘testimony play’ have added new factors to any consideration of documentary drama. It is a form that has been proliferating recently, whether in enacted judgements of public policy – privatization of the railways in David Hare's The Permanent Way, the invasion of Iraq in Called to Account at the Tricycle – or in exploring the ‘truth’ about more private issues. In the following article, Stuart Young questions whether the form is appropriate to the discovery of such ‘truth’, but finds that two recent works in the genre, Aalst and Taking Care of Baby, ha

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23

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

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Many theatre pieces in Japan now focus on a certain type of physicality which results from the sense of unease present in Japanese society. Manabu Noda argues that the senses of estrangement, distrust, apathy, helplessness, and incongruity in this supposedly democratic country come partly from the macho pressures under the right-wing Koizumi administration of 2001–06, and examines some current Japanese performances in the context of Japanese post-war society and of the continuing conflict in Iraq. He explores how these performances stage the body ill at ease – perceived as something irrevocabl

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24

Tripp, Charles. "Theatres of blood: Performative violence in Iraq." International Journal of Contemporary Iraqi Studies 12, no. 2 (2018): 167–81. http://dx.doi.org/10.1386/ijcis.12.2.167_1.

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25

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

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

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26

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

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

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27

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

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The National Theatre of Scotland was constituted in 2003, following a debate in the newly devolved Scottish Parliament. Its first artistic director was appointed in 2004, and its inaugural production was presented in February 2006. Within another year, some twenty productions had been seen in over forty urban and rural locations – a rate of development in marked contrast to the slow crawl over more than half a century towards a National Theatre in London. Personal and political drive apart, a major reason for the speed with which the National Theatre of Scotland has not only established itself

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28

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

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The contemporary post-truth environment imposes limitations and ethical consid erations upon the political theatre-maker’s ability to highlight political leaders’ exceptional acts of deception. By unpacking and applying Giorgio Agamben’s writing on the State of Exception to post-truth political performances, Alex D. Wilson discusses in this article how political deception is an exceptional act of sovereign power and how the state of exception is an inherently performative phenomenon. The inherent challenges this state of affairs presents to the theatre are discussed with particular reference t

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29

Wiesinger, Justine. "Okada Toshiki and Japanese Theatre – Peter ECKERSALL, Barbara GEILHORN, Andreas REGELSBERGER & Cody POULTON (eds)." Mutual Images Journal, no. 11 (December 20, 2023): 207–13. http://dx.doi.org/10.32926/2023.11.11.

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Since emerging on the scene in the 1990s, influenced especially by the work of Hirata Oriza, playwright Okada Toshiki has written dozens of works, a selection of which have toured throughout the world. Okada Toshiki & Japanese Theatre tells the reader that “he is the only Japanese theatre artist of his generation to have a significant international career and his work is known widely in Europe, North America, Asia and Australia” (1). Okada’s work encompasses colloquial yet troubled language, slowed tempos coupled with abstract physical scores, rich visual and aural designs and collaboratio

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30

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

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Clearly the attacks of 11 September 2001 served as a defining moment in the contemporary American political, social, or cultural imagination, and led directly to the invasion of Afghanistan and the far more controversial invasion of Iraq. Both wars were brief, the modest forces of these countries quickly capitulating to the overwhelming military superiority of Western forces, headed by the United States. On 1 May 2003, President George Bush announced victory and the end of the war in Iraq. Although the much more difficult and complex problems of occupation and pacification clearly will continu

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31

Najmi, Fahimeh. "Relations between Theatre and Power: The Iranian Quarterly Faslnameh Teatr (1977—)." New Theatre Quarterly 39, no. 1 (2023): 50–60. http://dx.doi.org/10.1017/s0266464x22000367.

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The quarterly journal Faslnameh Teatr has been published in the Iranian capital of Tehran since 1977, although with some interruptions. In a country where, since the Islamic Revolution, systematic efforts have been made to erase any trace of past monarchies, the continued publication of this journal proves to be an extremely rare, if not unique, occurrence. Of course, the prominence of the Ta’zieh ritual gives imposing visibility to the current dominant ideology within Iranian society, and the journal is effective in propagating the desired vision of the ruling Shi’ite power. The journal, then

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32

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

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The analysis of the following two Israeli plays is the focus of this article: Ghosts in the Cellar (Haifa Theatre, 1983) by Sami Michael, and The Father's Daughters (Hashahar Theatre, 2015) by Gilit Itzhaki. These plays deal with the Farhud – a pogrom which took place in Iraq in 1941, in which two hundred Iraqi Jews were massacred by an Iraqi nationalist mob. The Farhud has become a traumatic event in the memory of this Jewish community. Using the concept of ‘performing history’ as advanced by Freddie Rokem, I observe how these plays, as theatre of a marginalized group, engage in the productio

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33

Haghsetan, Leila, Afsane Malkami, and Leila Farjoo. "Advertisement and Its Effect on attracting Artists to Participate in Theater Festivals." Journal of Management and Accounting Studies 4, no. 04 (2019): 54–60. http://dx.doi.org/10.24200/jmas.vol4iss04pp54-60.

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Executive organizations and committees usually use promotional activities to attract more artists to theater festivals; however, some organizations believe that advertising is just waste of capital. Therefore, the present study aims to investigate the effect of advertising on attracting artists to participate in theater festivals of the country and rank these advertisings. Methodology: In this research, library method is used in theoretical studies, and in field studies, a questionnaire was distributed among 259 active artists in theater field who were randomly selected from among statistical

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34

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

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

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35

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

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

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36

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

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37

Naqvi, Erum. "Reinventing Ruhowzi." Middle East Journal of Culture and Communication 13, no. 1 (2020): 28–48. http://dx.doi.org/10.1163/18739865-01301002.

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Abstract In the last few years, Tehran’s arts culture has seen the re-emergence of a thriving theater scene, including experimentation with various performance practices that were restricted in public forums for several years. In this article, I address a 2017 production called Gonbadgah which is a choreographed regional ethnic dance interwoven with classical music and staged as a story inspired by ruhowzi, the erstwhile cabaret theater of early twentieth-century Iran. Offering a genealogy of ruhowzi that traces its artists from from elite performers with royal patronage to low-brow urban ente

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Budzowska, Małgorzata, and Jadwiga Czerwińska. "The Political Involvement of Myth in Its Stage Adapatations." Collectanea Philologica, no. 19 (December 30, 2016): 63–75. http://dx.doi.org/10.18778/1733-0319.19.05.

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Ancient myths from the Mediterranean Culture often become a language used to express current social and political anxieties. In the contemporary theatre ancient myths are deconstructed and subverted according to the postmodern dialogue with tradition. Aesthetic changes are accompanied by the ideological modifications. This obviously crisis position of myth is associated with the method of de-contextualization when a mythical plot or just a mythical character is involved in the (post)modern political background. This paper is to analyse three theatre productions from Polish theatre (Iphigenia b

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39

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

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

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Abdul-Jabbar, Wisam Kh, and Sabah Wajid Ali. "Sarcasm as Postcolonial Dialogue: Bloggers, Cultural Hegemony and Resistance." Culture and Dialogue 7, no. 2 (2019): 167–84. http://dx.doi.org/10.1163/24683949-12340065.

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Abstract This essay looks at two young English-speaking Iraqi bloggers whose internationally recognized writings describe the chaos in post-Saddam Iraq. It examines sarcasm as a mode of resistance as employed by Salam Pax, characterized by BBC Radio in 2003 as “the most famous diarist in the world,” and Riverbend, whose blog was published as a book and translated into several languages. By subjecting the colonial discourse to ridicule, they not only successfully convey the angst their people suffer, but also mock a stereotypical rhetoric that haunts the Western mentality regarding the Middle E

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أ.م.د. بهاء محمود علوان. "German epic theater and the floating theater in Iraq / Abdul Jabbar Hassan’s experience as an example." Journal of Education College Wasit University 55, no. 2 (2024): 35–48. http://dx.doi.org/10.31185/eduj.vol55.iss2.4029.

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في هذا البحث الموسوم (النقاط المشتركة بين المسرح الملحمي وتجربة عبد الجبار حسن في أهوار العراق)، هو دراسة مقارن لجربة المسرح العائم في أهوار العراق ومقارنة هذه التجربة مع المسرح الملحمي الألماني الذي أسسه الكاتب الألماني الكبير برتولت برشت. وخلال البحث نجد الكثير من النقاط المشتركة بين المسرحين المذكورين. وفي جانب من البحث يتم التركيز على مشهدين من أحدى المسرحيات التي مثلها عبد الجبار حسن في أهوار العراق. وكذلك في الاستنتاجات نجد الترابط الوثيق بين المسرحين. وتعتبر تجربة الفنان عبد الجبار حسن من التجارب الرائدة على مستوى العراق والعالم في المسرح. كما يتضمن البحث نبذة عن المسرح الملحمي وكذلك عن

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Vyroubalová, Ema, Shauna O’Brien, and Mohammadreza Hassanzadeh Javanian. "“This Is a Political Play”: Making Coriolanus Relevant in Contemporary Iran." Asian Theatre Journal 41, no. 1 (2024): 177–96. http://dx.doi.org/10.1353/atj.2024.a927718.

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Abstract: This article traces the performance history of Shakespeare’s Coriolanus in Iran, focusing on the most recent production of the play directed by Mostafa Koushki (b. 1984), performed between 2019 and 2020 in Tehran, Iran, and Kerala, India. Based on an original in-person interview with Koushki conducted by one of the authors in Tehran in July 2020, the article discusses how the production reflected and responded to the country’s volatile political climate. The analysis considers how various elements, including the minimalist set and costumes as well as gender-neutral casting, work toge

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Zare, Niloofar, Bakhtiari Behrooz Mahmoodi, Majid Sarsangi, and Tehrani Maryam Dadkhah. "The Emergence of Romantic Drama and Its First Self-Conscious Manifestation in Iranian Theater: A Study of "The Fate of Parviz" by Ali Mohammad Khan Oveysi and "Shiudosh and Naheed" by Mirza Abu al-Hassan Khan Foroughi." Emergence of Romantic Drama and Its First Self-Conscious Manifestation in Iranian Theater: A Study of "The Fate of Parviz" by Ali Mohammad Khan Oveysi and "Shiudosh and Naheed" by Mirza Abu al-Hassan Khan Foroughi 30, no. 1 (2025): 7–18. https://doi.org/10.22059/jfadram.2025.99313.

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This article aims to elucidate the emergence of romantic drama in the history of Iranian theater and to identify its earliest components. Historically, this phenomenon first manifested in the play "The Fate of Parviz" (1324 AH/1284 SH), but despite elements such as lyricism, the imaginative, the fragmented individual, and themes like patriotism, historicism, love, the Iranian spirit, and the ideals of equality evident in the works of later playwrights like Abdol Rahim Khalkhali, Hussein Kazemzadeh Iran-shahr, and Mohammad Reza Kordestani, known as Mirzadeh-e-Eshghi, the term "romantic" was not

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

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BackgroundDeployment to the 2003 Iraq War was associated with ill health in reserve armed forces personnel.AimsTo investigate reasons for the excess of ill health in reservists.MethodUK personnel who were deployed to the 2003 Iraq War completed a health survey about experiences on deployment to Iraq. Health status was measured using self-report of common mental disorders, post-traumatic stress disorder (PTSD), fatigue, physical symptoms and well-being.ResultsReservists were older and of higher rank than the regular forces. They reported higher exposure to traumatic experiences, lower unit cohe

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Mulligan, Kathleen, Norman Jones, Charlotte Woodhead, Mark Davies, Simon Wessely, and Neil Greenberg. "Mental health of UK military personnel while on deployment in Iraq." British Journal of Psychiatry 197, no. 5 (2010): 405–10. http://dx.doi.org/10.1192/bjp.bp.110.077263.

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BackgroundMost research on the mental health of UK armed forces personnel has been conducted either before or after deployment; there is scant evidence concerning personnel while they are on deployment.AimsTo assess the mental health of UK armed forces personnel deployed in Iraq and identify gaps in the provision of support on operations.MethodPersonnel completed a questionnaire about their deployment experiences and health status. Primary outcomes were psychological distress (General Health Questionnaire–12, GHQ–12), symptoms of post-traumatic stress disorder (PTSD) and self-rating of overall

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

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Teatr ZAR has been developing its Gospels of Childhood triptych since 2003, when the company was founded after several years of research in Armenia, Iran, and Georgia. It was in Georgia that ZAR learned polyphonic songs from the Svan oral tradition, which it developed in its unique song theatre. In this article Maria Shevtsova maps the first of a series of expeditions, the latter notably including Greece, Corsica, and Sardinia. She describes how the ancient hymns and chants gathered through direct oral transmission (ZAR's choice of material reflects its interest in the songs of early Christian

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

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

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OBJECTIVE: At the time of this study, the 1st place that an injured or ill American soldier in Iraq or Afghanistan would have been evaluated by an ENT–head and neck surgeon was at a tertiary care medical center as a result of air evacuation out of theater: Landstuhl Regional Medical Center (LRMC), Ramstein, Germany. By examining the ENT-related diagnoses of all air evacuations from downrange, we were able to match the patients classified as having battle injuries to determine the percentage with head and neck trauma. STUDY DESIGN: A prospective review of 11,287 soldiers air-evacuated from Afgh

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MARJANISHVILI, Mariam. "The World of Games and Georgian Theatre in Baku." Journal in Humanities 9, no. 2 (2021): 76–80. http://dx.doi.org/10.31578/hum.v9i2.422.

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The concept of Azerbaijan appeared in the Georgians’ mind with the folk song “Urmuli”, as in the first line of the song “I’ll go to Aghzevan for salt”, the word “Aghzevan” means Azerbaijan.The friendship and cultural relations between Georgian and Azerbaijan peoples have a long history. The best children of these two nations have always tried to develop and strengthen this friendship.It is important to study and research every form and field of these relations, including traditional theatric-cultural one between the two peoples.At the end of the 1870s, Baku, which was weakened by Turkey and Ir

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Javanian, Mohammadreza Hassanzadeh. "Titus and Coriolanus in Tehran." Critical Survey 34, no. 4 (2022): 124–35. http://dx.doi.org/10.3167/cs.2022.340408.

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Adaptations of Shakespeare’s Roman plays have frequently addressed political topics at the time of their production. As a result, Shakespeare’s Rome, already a site of political conflict and power struggle, has found different and at times opposing significations in its new contexts. The present study is set to explore how two recent adaptations of the Roman plays in Iran, There Will Be Blood (2019, based on Titus Andronicus) and Coriolanus (2019 and 2020), have situated Shakespeare’s texts in Iran’s contemporary political context. The study argues that Shakespeare’s Roman plays have created a

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