期刊文献+

The Situation of Performance Art in Iran, Past and Present

The Situation of Performance Art in Iran, Past and Present
下载PDF
导出
摘要 Performance art in every region and country depends mainly on rules, customs, and beliefs of that particular society hence; this art enjoys diversity with respect to its forms and contents. In contemporary lran, with the emergence of new artistic movements, performance art incorporated more academic and enlighten aspects. New mass media and modern visual medium such as light, sound, moving, and changing images, video displays as well as application of new signs and symbols are some of the special characteristics of the contemporary performance art in Iran. Moreover, the performance art in Iran is not merely related to the contemporary era rather it encompasses a large number of traditional representations that have been prevalent among common people with much meaningful rules. Its popularity among common people is also a conceptual art which conveys a content-based meaning in a more dramatic sense. For centuries, the tradition of performance art in Iran can be observed in the rules of Ta'aziehkhani (quite singing or passion play), Shamayelgardani (icon handling), Ru-howzi (performance on pool platform), Marekegiri (mono drama), Qhashoqhzani (spoon handling) and Aroosakgardani (puppet handling). Aestheticism relying on traditional performing method is also the outcome of taste and elegance of common people. These performances have more folkloric aspects protruding from humane institutions and blended with their vernacular beliefs. In the traditional method of performance art, performers mostly enjoy their own taste and style and use handy means for executing their roles. In contemporary Iran, traditional method along with modern theme has been widespread among people particularly in villages and small townships although these are not called as art. The present study is an attempt to study existing challenges to modern and ancient art traditions as well as aesthetic values attributed to each of them.
机构地区 Alzahra University
出处 《Journal of Literature and Art Studies》 2016年第4期418-425,共8页 文学与艺术研究(英文版)
关键词 performance art TRADITION modern conceptual art formal representation contemporary Iran vernacularbeliefs ACADEMIC 表演艺术 伊朗 大众媒体 新艺术运动 行为艺术 视频显示 基于内容 传统
  • 相关文献

参考文献8

  • 1Baktash, M. (1979). Ta'ziyeh and its Philosophy. In P. J. Chelkowski (Ed.), Ta 'ziyeh: Ritual and drama in 1ran. New York: New York University Press. Tehran: Soroush Press.
  • 2Beiza'i, B. (12000). A study oflranian theatre. Tehran: Roshangaran and Women's Studies Publishing.
  • 3Chelkowski, P. (1979). Tazieh: Indigenous avant-garde theatre oflran. New York: New York University Press.
  • 4Jahanpoor, F. (2011). Interview. Retrieved from https://www.jahannews.com/getiyyarwtlayp2.cbct.html.
  • 5Lucie-Smith, E. (2002). Art tomorrow. Paris: Terrial.
  • 6Morgan, R. C. (2008). Art in the landscape, An Iranian sculptor brings his art to the river, beaches---and parks. Marked in stone and sand, landscape architecture. The magazine of the American Society of Landscape Architecture, 6.
  • 7Sir Lewis, P. (1978). Report on a journey to Riyadh in Central Arabia. Cambridge, Eng.; New York: Oleander.
  • 8Mottahedeh, N. (Summer 1999). Resurrection, return, reform: Ta'ziyeh as model for early Babi historiography. Iranian Studies, (32), 3.

相关作者

内容加载中请稍等...

相关机构

内容加载中请稍等...

相关主题

内容加载中请稍等...

浏览历史

内容加载中请稍等...
;
使用帮助 返回顶部