Articles

Movement study                                               Shahrzad Artistic Magazine
Written by Mehdi Farajpour
June  2004

Movement being from where the verbal power is unable to meke the listeners to understand the concept.not only in theatre,but also in living ,this movement could being from an angry look to a peak of such an anger that would createa a tragedy.but speech is not like this ,and has limited transferring character .therefore,necessity in absence of speech in atheatre work will give us awarenes of being faced with much more complicated concept than speech .this logic is quite appropriate in the "house is in our past ".the story was very similar to the novel of "to the child who was never born",written by italian great writer and journalist,oriana falaci.it could even be said that ,it is a copy of a scene of this novel .apregnant mother talks to the fetus in her womb(of course in the novel )and while playing ,this talking gets replaced by the sound of meredith monk,and somethings by folklorish sounds of different nationalities.but will all explanation and individual understanding and logic way of movement from A to B in the direction of making sense, one factor of helping the ambiguity of play is the nature of movement being used by the actor.
If we consume the mother at the stage of emotional and perceptual life ,and the fetus prior to this stage ,it would be the movements of mother that should be considered as a movement scale of an ordinary human being and played movenoticeably. but in the play ,the figures of the mother are totally subjective ,and the figure s of the fetus are objective,and this opposition is a factor in lack of understanding , resulting in lack of communication within a regular audience.other than substantial difference , movements of these two characters, fine but determining contradictions could be seen at the nature of fetus movements by itself which perhaps goes back to careless ness or lack of knowledge in group movement study.
Movement and symbol are two concepts or areas that have constant effect on each other .and seem to be combined.movement in the absence of symbol (defined in aryanpour dictionery as representation by symbolic signs ,and in moein dictionary as any conventional signs)ends to nonsense actions that neither the audience nor actor gets any benefit from it, because there would be no emotional communication and thinking conflict.but symbol in the absence of movement can constantly stay alive ,and this living may be in a non_moving substance at the scene like an olive branch,hanging knife from the ceiling of theatre hall ,or any other thing that has no meaning other than its own nature in minds.when a group enters to the area of movement,they have to know the past symbolic conventions (such as olive as peace and ...),or defamiliarization in synbols and creating new conventions with audience,and should begin common encoding with audience that the mentioned group has beenpartially successful in this encoding . from designing the scene (pool as womb ,mud as bllod , swamp as water for fetus ,muds on pool walls as impairment of womb walls, and ...)to boots for war (in front and in life )and to movements such as victory movement(V)and ...prove that this play can not be analyzed without symbolic definitions.
In movement science and specialties such as mime and pantomime and ...,an object should be shown or we should become an object. an obvious example for this can be the situation that we show holding of a weapon and leave the object place blank , or the object is changedto the weapon in our hands, like in a childhood play .now if we are showing the holding of a cigaret with no cigaret ,as shown in the play ,we are not supposed to show the bow and arrow with two firgers , symbolizing victory(V).
sensitivenesses such as audience seats arrangement ,changing the view angle of audience from common way ,making communication with sounds and ...are tricks that have happened in the world theatre since past decades and perhaps goes badk to antonen artaud,and his cruelty and violence theatre,and then his heirs such as jerzy grotowski ,peter brook ,eugenio barba and ....
The performance of this style is not a new phenomenon in theatre .first suvealistic theatre (that artaud is known as a member of this movement by some people and this  may be because of orientalism common horizon in this movement and antonen artaud ), and then in symbolic theatre which is mostly aliterature ,style created under influence of gnosticism ,were established.
With regard to the advised principles by artaud to western theatre  which will be brought later here ,'house is in our past '.could be considered as a play with eastern elements which is derived from the west , and because of this , it is not a phenomenon.
Artaud , in cruelty and violence theatre ,suggests some principles to western theatre :
-considering the play subjectivity on scene.
-coordination between color, scream ,and movements.
-direct relationship with depth secret of life , like eastern theatre.
-metaphysical atmosphere of theatre ,because everything in it is reflecting the mood or a mental problem.
In some parts of play ,the use of sound has become a formality and the nature does not provid.the necessity of sound .the sound in the theatre that artaud was after it , had scenic logic.because basically artaud believed in custom theatre and custom sound is for conquering a soul or metamorphosing an animal, and this could have ideological logic for artaud and grotowskitheatre which in 'house is in our past ',sound has no play on words with above definitions.so is 'silence and breath'by majid bahrami,motivates the addressee s emotion more and makes him excited ,which is one of the gools of symbolits ,or sound of meredith monk from capable throat of atefeh tehrani.
Nonsense and exaggerated use of some position of hatha yoga (asana) that unfortunately was surrounding Iranian and claiming to be the follower of grotowski s  style ,is controlled.

Yoga and Dramatic arts
Written by Mr. Mokaberi
Summer - 2004


on thursday,esfand 21,2003 , a thesis with the name of "the monk actor" was defended by mr mehdi farajpour in soureh higher education institue. in this session of defece, a theatre dance (practical work)with the name of "suddhalayadi" or "dancing on cemeteries ashes was perfored,and then the verbal session of defending the offered thesis was held.professor (ms) maya, the guidance professor for this thesis had a short speech to the judging professor in the session about the value of yoga in dramatic arts.
the material offered in this subject is derived from the whole work and discusses the basic role of yoga in improvenment of pleying art ,and key and structural similarities of yoga with dramatic arts.
this magazine,while congratulating this successful student who bravely used the most valuable founding of human being in his thesis by applying tecniques of yoga ,announces its readiness for researches on this subject,and wishes the exaltation of artistic society of the country,specially the theatre art.

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yoga consists of a set of techniques that are used for constant improvement of body ,soul ,and breath. in theatre and playing art too,the set of body movements,coordination of movements with breath,sinking in the assigned role reflection of character thoughts in actor`s face mimic,in other words, offering actor`sbody to the soul of the assigned role,from the major basis of this art. yoga body practices ,known as "asana",bring forth balance,equilibrium,readiness for unusual movements,keeping organs health and flexibility.
in case of understanding the spirit of movements and its positive effects,different cycles of yoga movements control everything,from standing still to unusual movements,and keep the body balanced and make the movements joyful.
another basis of yoga,is the subject of its mental and psychological practices.
one of the basic goals of these practices is getting rid of onesef,and leaving behind all man_made things that we have gathered arround us.
this getting free is one of the yoga stages which helps the human being to free himself more and more every moment,and throw away trashes of his thoughts,in other words,one draws himself on to zero line and no motive can make him move.
the artist produces strong mental waves for himself bye doing yoga psychological practises and bring under control the existing waves in the whole hall and do whatever is right and is in his will,in advanced stages.
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yoga says:"let the fluctuation of your thoughts and your internal distress get calm and you become free of your selfishness so that the fact of being fills you wholly."yoga says :"balance your bady movements and make in coordinated with your breath,"and playing art says:"sink your body movements in to your assigned role and bring under conrol from fine movements of your face muscles to your all body movements."