دانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-26491220110823Kant’s Aesthetics Theory and Beauty of “The Birthday Party” by Harold Pinter:
Applying the Subjective Theory of Immanuel Kant in Philosophical Aesthetics in
“The Birthday Party” as the Objectiveزیبایی شناسی کانت و زیبایی ” جشن تولد” پینتر به کاربردن زیبایی شناسی ذهنی کانت در “ جشن تولد” به مثابة عین مدعی زیبایی1952510.30480/dam.2011.25FAخشایارحضرتی ونددانشگاه هنر تهرانشیرینبزرگمهردانشگاه هنر تهرانJournal Article20110209Abstract
Classic texts in philosophy are very important to shape the peoples thinking but this affection is commonly
indirect. Philosophers explain aspects of our life by their special terminology, and therefore
applying these explanations in specific subject is not possible. One of the most important philosophers
is Kant, and his “Critic of Judgment” is among the most important texts in this case. Applying the subjective
theory of Immanuel Kant in aesthetic, in propose of surveying an artistic item as the objective
acclaim of Beauty, is facing many obstacles such as no clearance regarding subjectivity and identity
in definition of Beau and the Art. Kant starts his analysis from human cognition and attempts to clear
the concept of Beau and the Art in this way. But this article attempts to remove some of these hinders.
Kant’s theory is very important in philosophy but it has problems for explanation of – for example
– a play. So, first of all, reviewing Kant’s definitions on Beau based on Quad Moments will be done.
Then the reputation of Kant regarding his system of aesthetic among the outstanding theories in history
of his aesthetic and philosophy of art will be presented. And after that, simulation the mechanism
of the human cognition for offering the judgment of taste in a metaphorical pattern, as well as the
concept of dialectic of taste-cognition will be introduced. The obtained system, using viewpoints of
“Hans-George Gadamer” about the similarity between the structure of art and play, will present three
objective aptitudes for beau based on subjective principles of Kant’s aesthetic which two aptitudes of
them are in negative way and the other one is in Exigency way. With default of Beauty as the inherent
property of art and by using this inductive system, the article tries to eliminate the basic bugs which
theory of contemporary Art extracts from the philosophic aesthetic. Using this method, and as a sample,
features of ‘The Birthday Party’ play by Harold Pinter which makes it meritorious as the Beautiful
to get judgment of taste, will be surveyed. Harold Pinter is a very important playwright in the history
of modern theatrical art, and “the Birthday Party” is a special case in his plays. Surveying this play can
clear several aesthetical aspects of modern plays. On the other hand Harold Pinter is a contemporary
artist and Kant is a philosopher in the Enlightenment. Finding a relation between the thoughts of these
two humanity stars in Philosophy and Art can help us to reconnoiter and exploration of more relations
between the worlds of philosophy and art.چکیده
به کاربردن نظریة ذهنی کانت در زیبایی شناسی، برای بررسی اثری هنری به عنوان عین مدعی زیبایی،
موانع بسیاری دارد. در این مقاله سعی بر آن است که این موانع از سر راه برداشته شود. به این منظور، ابتدا
تعاریف کانت از مقوله «زیبا » و «زیبایی » مرور میشود. سپس سازوکار قوای شناسایی انسانی برای ارائة
داوری ذوقی در شکلی استعاری مدل سازی می گردد. از این روش سه قابلیت عینی برای امر زیبا بر مبنای
اصول ذهنی زیبایی شناسی کانت استنتاج خواهد شد. با این ابزار و به عنوان نمونه به بررسی ویژگی هایی از
نمایشنامة «جشن تولد » هارولد پینتر پرداخته می شود که آن را به عنوان عین واجد زیبایی مستحق صدور
حکم ذوقی میکند.https://dam.journal.art.ac.ir/article_25_30d84b60c051eb5dbf79a725601ba28e.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-26491220110823From Improvisation to Performanceاز بداهه پردازی تا اجرا38212610.30480/dam.2011.26FAعلی (محمدرضا)حاجی ملاعلیدانشگاه هنر تهرانJournal Article20110126Abstract
Different performance arts like theatre, music and dance can use improvisation in various ways. In
theatre, improvisation can be used for training students, staging text plays and especially in recent
years as an element to provoke creativity and spontaneity of actors and audience simultaneously. A
theatre group can reach to performance thorough improvisation. Having just an idea and rehearsal
place, the group can achieve a structured performance. So, each of the performers should reinforce
his/her personal and collaborative capabilities. There are six skills that every improviser should acquire
them:
1. Trust: Trust is the foundation for all of the creative and collaborative endeavors. Improvisers demand
that they colleagues that they can trust and they have developed exercises (and tests) to build it.
2. Spontaneity: Although spontaneity is risky but it may act as the heart of creativity. Improvisers
practice getting out of their own way so that they can recognize and utilize their innovative ideas.
Socialization kills spontaneity.
3. Accepting the offers: Everyone offers and accepts. An ‘offer’ can be anything. Say ‘yes’ and accept
offers. Each member of a team is responsible for both contributing to and supporting the group’s
activity.
4. Listening and awareness: Before accepting an offer it must be recognized. Listening is more complex
than it seems. By enhancing the listening and observation skills, teams and individuals can
harvest significantly more ideas, increase their understanding of each other, and communicate more
effectively.
5. Storytelling: Storytelling is a historic as well as current and profound learning too. Stories are the
heart of theatre and the heart of communication too. Audiences are constantly looking for stories to
help them understand the information being presented to them, and to keep them interested.
6. Non-verbal communication: non-verbal behavior often carries more weight than the verbal communication.
Our subconscious is evident in our dreams; it reveals itself in our bodies.
Applying these skills has a vital role in all kinds of theatres which are using improvisation. These
skills can lead to creative and attractive performance. Especially for modernist artists, improvisation
can be a qualified technique. In this article, the authors have studied the improvisation in general, as
well as the theatrical form of it, and mentioned that it needs to 6 main skills. This study is completely
practical and theoretical debates are relinquished. This article is useful for theatre groups, theatre
students and even theatre teachers.چکیده
از بداه هپردازی، در هنرهای اجرایی مانند تئاتر و موسیقی و رقص به شیوه های گوناگونی استفاده می شود.
در تئاتر، بداهه پردازی برای آموزش هنرجویان یا روی صحنه بردن نمایشنامه ای مکتوب و در سال های اخیر
نیز به عنوان عنصر برانگیزانندة خودجوشی و خلاقیت همزمان بازیگران و تماشاگران به کار می رود. اما
گروه های تئاتر می توانند از طریق بداهه پردازی به اجرا برسند. این گروه ها با استفاده از بداهه پردازی و با
داشتن تنها یک ایده و فضای تمرین می توانند به اجرایی ساختارمند دست یابند. برای این هدف بازیگر بداهه
باید قابلیت های فردی و گروهی اش را تقویت کند. این قابلیت ها در تمام حوزه های تئاتر که بداهه پردازی
به گونه ای کاربرد دارد نیز کاملاً ضروری و حیاتی اند. در واقع بداهه پرداز در تئاتر شش مهارت کسب
می کند: اعتماد کردن، رهایی، پذیرفتن پیشنهاد، گوش سپردن و دقت نظر، داستان گویی و برقراری ارتباط
غیرکلامی. گروه های بداه هپرداز در تئاتر م یتوانند با داشتن این مهارت ها، اجراهایی خلاق و جذاب تولید کنند.
بداهه پردازی به ویژه برای هنرمندان نوگرا شیوه ای کارآمد است. این مقاله با تعریف بداهه پردازی به طور
کلی، بداهه پردازی در حوزه تئاتر را تعریف م یکند و به بررسیِ شش مهارتِ پیش گفته می پردازدhttps://dam.journal.art.ac.ir/article_26_a3ac3b319caa9388976dbceacfd4cdec.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-26491220110823The Cinematic Representation of Reality in Two Approaches Phenomenology
and Metaphysicsبازنمایی سینمایی واقعیت در دو رویکرد پدیدارشناسی و متافیزیک55392710.30480/dam.2011.27FAمهدیازهری راددانشکده هنر و معماری، دانشگاه تربیت مدرس، استان تهرانعلیشیخ مهدیدانشکده هنر و معماری، دانشگاه تربیت مدرس، استان تهرانرضاافهمیدانشکده هنر و معماری، دانشگاه تربیت مدرس، استان تهرانJournal Article20110215Abstract
The relationship between representation and reality has been the matter of concern to the philosophers
all the passage of time. In general, with the rise of metaphysical thought and Idea theory in Greece,
the absence of reality of the world in the human sight has been accepted; moreover, gradually Epistemology
got the priority to Ontology and so, representation was considered as a necessity to face the
reality. At the same time, the meaning of Art was also changed from the concept of Poesis, accompanied
with Aletheia to the concept of Mimesis and separation of Aletheia. In this article, the cinematic
representation, as an artistic media is studied from the perspectives of Ontology and Epistemology
on the one hand and in the face of two historical-intellectual paradigms on the other hand, including:
Presence or phenomenological knowledge, and metaphysical paradigms. As a matter of importance,
in this article, only that part of representation has been taken into consideration that is related to reality.
Theorizing about the cinematic representation is dependent to the ontological and epistemological
foundations. The cinema ontology is to answer this question: whether the cinematic representation is
related to the real world or is an independent world itself that is connected with the audience’s mind?
In the cinema epistemology, the amount of reality perception is the matter of consideration. The research
is based on the structuralistic methods, taking Heidegger’s theories. According to Heidegger,
in every historical period, there is a special appearance of “Being”. He believed in three major periods
in the thought history. The first: before the era of Socrates and Plato that “Being” was considered present
in the human world. The second: the traditional metaphysic, beginning with Plato and continuing
to medieval ages. The third: the modern metaphysic, beginning with Cartesian doubt and continuing
to Husserl. As a matter of notification, in this article, the second and third periods considered as the
metaphysical periods. The study shows that Cinema from the phenomenological approach and taking
the ontological status has got the enough potential to make the reality be perceived immediately by
the audience; whereas in the metaphysical approach, cinema keeps the representational and subjective
status.چکیده
رابطة بازنمایی و نسبت آن با واقعیت همواره موضوع مورد توجه اندیشمندانی بوده است که فرایند ادراکی
انسان را مدّ نظر داشته اند. به طور کلی پس از ظهور تفکر متافیزیکی در یونان و طرح نظریة مثل، حضور
نداشتن واقعیت پدیده ها نزد انسان، به عنوان فاعل شناسایی، پذیرفته شد و به تدریج شناخ تشناسی بر
هستی شناسی مقدم گشت و بازنمایی نوعی ضرورت به شمار آمد. همزمان با این تغ ییر در نوع ادراک واقعیت،
معنای هنر نیز دستخوش تغ ییراتی گردید. در این مقاله، بازنمایی سینمایی با توجه به اینکه سینما رسانه ای
هنری است، از منظر دو مقولة فلسفی هست یشناسی و شناخ تشناسی و در مواجهه با دو انگارة فکری
تاریخیِ معرفت حضوری )پدیدارشناختی( و متافیزیک و با استفاده از روش ساختارگرایی و توجه به روح کلی
حاکم بر هر انگاره و همچنین مبنا قرار دادن نظریات هایدگر در زمینه ای فلسفی، مورد بررسی قرار می گیرد.
نتیجة مقاله بر این گزاره مبتنی است که سینما از منظر انگارة حضور در مرتبة هستی شناختی، قابلیت فرارفتن
از مفهوم بازنمایی واقعیت را دارد، ولی در نوع تفکر شناخت شناسانة متافیزیکی همواره در مرتبة بازنمایی و
ایجاد توهم واقعیت باقی م یماندhttps://dam.journal.art.ac.ir/article_27_b87fc4c228f916f2edc755cf0255fa94.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-26491220110823Voice-Over Narration and the Study of Its Functions in Fiction Filmsگفتار روی تصویر و بررسی کارکردهای آن در فیلم های داستانی70552810.30480/dam.2011.28FAمهدیبهپورکارشناس ارشد سینما، دانشگاه هنر، استان تهران، شهر تهرانسیدمحسنهاشمیاستادیار گروه سینما، دانشگاه هنر، استان تهران، شهر تهرانJournal Article20110101Abstract
Cinema in elementary education is trying to convey the students, that using the voice over narration
is an unforgivable mistake. The voice over narration has been technique called in film to help convey
greater depth and meaning to the audience. Whereas on the one hand, there are several professionals
who see it as a crutch when the director or writer is unable to move along the storyline effectively
within a given scene. On the other hand, however, when it is used effectively, voice over narration
can be inserted as an active agent to help provide greater impact and understanding to the audience in
a way that a complex actor’s performance or scenery cannot convey. The voice over narration can be
a successful narrative technique only as long as it conveys something different from the visual narrative
and the narrative conveyed in the dialogue. “Double telling” is a successful device only if the
point of the narration is to highlight information or themes already expressed in the plot. The most
important function of voice over narration is to aid the cinematic narration. But this help is done in
wide and very diverse ways. The voice over narration can reveal the inner thoughts of cither the major
characters or the minor ones sometimes these inner thoughts reveal the special hidden ideas of issues
that wouldn’t be apparent without the voice. Narrating by the first person Voice over narration may
create a special intimacy between the audience and the narrator. In many ways voice over narration
allows the viewer to obtain more information compared even with the main characters depicted in the
story. Voice over narration takes audience from time to time and relates the segments to each other. In
many films that have been adapted from plays (pieces) or novels, it is choosed to retain certain parts
of the original narration, especially when it creates a voice of its own. Also the voice over narration
can be considered as a means to give depth to the psychological and intellectual aspects of narrative.
The voice over narration in the cinematic representation and the audience received of time includes a
direct effect. Sometimes this technique is used to create suspense, ambiguity and surprise; and sometimes
it creates ironic situations. In some cases plot going on through images and dialogues but the
voice over narration without regard to them explored the issues that made the multilayered structure
of the film and its enhances. Many different functions can be perceived for voice over narration. This
article, by exploring a variety of functions of voice over narration in the cinema, challenges the notion
that the use of this technique implies a find of weakness to the cinematic narration. To achieve this
purpose, it tries to present a practical as well as appropriate classification of the main functions of this
technique in fiction films. To clarify this discussion, several films are represented as the related examples
and the role of voice over narration in their narratives is studied. Finally it seems that the proper
use of voice over narration will express its positive role in cinematic expressionچکیده
مهم ترین کارکرد گفتار روی تصویر، کمک به عمل روایت است. اما این کمک به رو شهای بسیار متنوع و
گسترده ای صورت می پذیرد. گفتار روی تصویر را می توان به مثابة ابزاری برای عمق بخشیدن به جنبه های
روا نشناختی و روشنفکرانه روایت برشمرد. تماشاگر گاه افکار و احساسات کاراکترها را از طریق گفتار روی
تصویر درک میکند و به همذا تپنداری با آنها می پردازد. خطاب مستقیم م یتواند صمیمت خاصی را میان
تماشاگر و راوی به وجود آورد. گفتار روی تصویر در بازنمایی سینمایی زمان و دریافت مخاطب از زمان
تأثیر مستقیم دارد. گاهی برای ایجاد تعلیق یا ابهام و غافلگیری از این تکن کی استفاده می شود. در پاره ای از
موارد داستان فیلم از طریق تصاویر و گفت وگوها پیش می رود؛ اما گفتار روی تصویر، بی توجه به آنها به
مسائلی می پردازد که ساختار فیلم را چندلایه م یسازند و آن را ارتقا م یبخشند. می توان کارکردهای دیگری
را نیز برای گفتار روی تصویر در نظر گرفت. این مقاله بر آن است تا از طریق بررسیِ تنوع یا گوناگونیِ
کارکردهای گفتار روی تصویر در سینما، در این انگاشت و تصور که استفاده از این تکنیک، دلالت بر ضعف
روایتگری سینمایی دارد، تردید و تشکیک ورزدhttps://dam.journal.art.ac.ir/article_28_4bfc76763e35275577983e5f7db21770.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-26491220110823An Analysis of Unaccomplished Intercultural Relations in“Tickets’ Trilogy ”
(Ulmi, Kiarostami, Loach)تحلیل مناسبات نافرجام بِینافرهنگی در سه گانة روایی فیلم “ بلیتها" (اُلمی ، کیارستمی ،لوچ)86712910.30480/dam.2011.29FAمحمدجعفریوسفیان کناریاستادیار ادبیات نمایشی، دانشکدة هنر، دانشگاه تربیت مدرس، استان تهرانJournal Article20101222Abstract
This paper aims to identify the limits of approaching an intercultural experience through a critical
reading of Tickets (2005) movie. The movie is an international collaboration by three globally acknowledged
film-makers, Ermano Olmi (Italy), Abbass Kiarostami (Iran) and Ken Loach (UK). It
has thoughtful media competence by which a theoretical perspective might be realized, necessary to
discuss on major challenges facing many intercultural productions. The main problem of this research
is whether it might be possible to find some reliable cinematic facts confirming that the Intercultural is
an unfinished experience, or not. Interculturalism, from this point of view, is not merely some kind of
exchanging, transacting or transporting and integrating into different cultural effects at the crossroad
of historical and geographical borders; but, it is in fact a dynamic as well as highly creative action
which resulted from the process of ignoring or “forgetting” the own cultural priorities and freely
“adding” them to some fragmented parts of other cultures. The “Self” and the “Other” are no longer
conceived as imposing agents of some distinct national identities, but the mediators of ever becoming
inter-cultural. In this sense, the intercultural experience necessitates emerging of unsustainable
identity left unknown in the empty spaces of socio-cultural levels. This research purposes to characterize
different cultural features examining the limits of truth and the conditions of accomplishment
within an intercultural experience. Analyzig some typical facts drawn from human relations and the
major events of Ticket’s Trilogy, the paper displays how the concept of Interculturalism might have
been considered as an unaccomplished project of cultural fusion. Each narrative episode of the movie
has a distinct cinematic character which might be culturally read as a kind of deviating from usual
expectations of the accomplished mission. Many cultural facts support the idea that the movie functions
as a rupture in conventional observation of self and other integrities. The findings resulted from
analyzing the social roles of film characters clarify that the Interculturality is an implication subject to
ever delaying and inevitably suspending its own cultural significations, requires then to be critically
faced with rather than be verified and followed by. “Abnormal phobia”, “Unfinished Hybridization”,
“Militaristic Paradoxes” and “Marginalization” are amongst the main factors which the paper applies
to reconsider the general conception of Interculturalism. They will be analyzed respectively in
accordance with the selected scenes of the Tickets. The study first begins with a theoretical discussion
on the roles of cultural “texts”, and then continues with a literature review of intercultural reading of
dramatic arts. It should be mentioned that how intercultural studies of Cinema have been emerged
through the 1980s. By interweaving some critical debates on Interculturalism from a variety of areas,
a socio-political reading of the Tickets would be realized. As a cultural criticism of Tickets’ socio-political
images, the paper invites readers to think about the limits of Intercultural studies of arts and its
unexpected consequences. As an objective result, it will sum up the key factors which have affected
on the idea in a provisional figure.چکیده
این مقاله قصد دارد تا با قرائت فرهنگی روابط میان شخصیت های فیلم «بلیت ها 2005( » ( به شناسایی
محدوده هایی از نافرجامی در تحقّق تجربه ای بِینافرهنگی بپردازد. این فیلم دارای ظرفیت های رسانه ای
تأم لبرانگیزی است که می تواند زمینة نظری لازم را برای طرح چالش های پیش روی تولیدات بینافرهنگی مهیا
کند. پژوهش حاضر با تعریف شاخص های تاز های برای پیمایش حدود صد قپذیری امر بینافرهنگی، میکوشد
تا به کمک نمونه شواهدی از حوادث و مناسبات انسانی سه اپیزود فیلم «بلیت ها »، طرحی از ناتما مبودگیِ
پروژه های همجوشی میان فرهنگ ها ارائه دهد. به این معنا، تجربه بینافرهنگی نیازمند پدیدار شدنِ هویتی
ناپایدار در خلأ میان ترازهای فرهنگی است. «هنجار هراسی « ،» تبار آمیزیِ نافرجام »، ناسازه هایی از «سیاست
فرهنگی » و «حاشیه گرایی » مهم ترین مفاهیم در خور طرح برای اثبات مدعای این پژوهش به شمار می روند.
یافته های منتج از تحلیل مناسبات طبقاتی شخصیت های فیلم، نشان می دهند که تجربه های بینافرهنگی عمدتاً
موکول به تعویق و یا ناگزیر از تعلیق دلالت های فرهنگی خود هستند و بیش از آنکه نیاز به تأ یید و تبعیت
داشته باشند، محتاج مواجهه ای انتقادی و آسی بشناخت یاند.https://dam.journal.art.ac.ir/article_29_45cf2c0ef1e1408df6eb72be96ee4750.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-26491220110823The Influence of the Computers on the Aesthetics of Animationتأثیر فناوری رایانه بر زیبایی شناسی هنر انیمیشن100873010.30480/dam.2011.30FAامیرمحمددهستانیکارشناس ارشد انیمیشن، دانشکده سینما و تئاتر، دانشگاه هنر، استان تهرانJournal Article20110130Abstract
No one can deny the certain and obvious influence of the technology on the arts. This reflects the undoubted
and powerful connections between the sciences and the arts as well. Many artistic forms fundamentally
depend on technology, specially the newer ones such as photography, cinema – as a whole
- and animation movies specifically. Therefore, the progresses in the technology have more direct and
obvious influences on these artistic forms. In animation as we may call it, the child and successor of
the other predecessor art forms, the touch of the computer technology was so vast and deep that led to
the creation of a new digitalized technique in animation - making. Regarding it’s sophistication and
vast ability in creating state of the art animation and magically beautiful, dreamlike and at the same
time very realistic imagery, this kind of animation – making in a short period of time enchanted both
the moviegoers and filmmakers alike and became the most popular form of the genre. In overall we
should put the influence of the computers on the aesthetics of animation as an art in three categories:
1- Computer Aided Animation;
2- Computer Generated Imagery and Animation (CGI); and
3- Image Manipulation.
Each one among the mentioned methods influences animation artistic grammar and aesthetics in its
own unique way. In the first one, the computers aid the artists and technicians to refine, polish and accelerate
the ways of creating and producing traditional and classical animations. The greatest, as well
as the most important sample, is the digital 2D Cell Animation Production System (CAPS) for Disney
feature movies. In the second category, CGI (Which is known to 3D Animation too), all the imageries
and their movements are basically created in the virtual-digital realm of the computerized animation
software. The broad artistic language and unlimited abilities of it in creating many kinds of imagery,
heavily depends on the up to date state of the art computer graphics science. In contrast to the other
animation techniques that their aesthetics is mostly based on their limitations in the mimesis of reality,
the aesthetics of computerized animation comes from its limitlessness in representing and mimesis of
every imaginable subject with believable realism (due to its use of sophisticated technology). In the
third category, Image Manipulation computers enable the filmmakers and animators to manipulate the
2D images (mostly photographed by camera) in possible ways. By other words, these techniques actually
change the seemingly solid and hard recorded frames to a series of virtual wet paintings that can
be altered (in shape, color, movement, etc.) by artists in infinite desired ways. In many forms of this
technique, the movement of subjects can be changed or exaggerated, and actors performances be reanimated
(or their images can be altered by morphfing, squash, stretch, etc.) by the means and basics
of animation. The “Image Manipulated Animation” should be counted as a new stand alone technique
of animation such as Pixilation or Kinestasis. In the last two decades these three main computerized
methods have influenced on animation art and technique, caused a lot of interests and popularity in
this genre as a very exciting form of movie making. By using the computers, animated movies have
been enabled to create a very broad range of imagery, from the abstraction to hyperrealism. Therefore,
the only limitation for representing the imagination of animation artists on the screen has become the
limitation of their dreams and imaginations itself!چکیده
برخی از هنرها اصولاً وابسته به فناوری اند و بدون آن امکان ادامه حیات ندارند. هنرهای جدیدتری چون
عکاسی و سینما و انیمیشن از این دسته اند و به همین علت تأثیر فناوری و پیشرفت های آن بر این هنرها
مستقیم تر و کاملاً آشکار است. هنر انیمیشن که آن را می توان فرزند و محصول هنرهای پیش از آن به
حساب آورد، با تکوین و گسترش دانش رایانه به شدت از آن تأثیر پذیرفته، تا جایی که ورود فناوری گراف کی
رایان های موجب پیدایش و شکل گیری نوع جدیدی از هنر انیمیشن شده است. انیمیشن رایانه ای به سرعت به
محبوب ترین و رای جترین نوع هنر انیمیشن بدل شد و این خود به دلیل قابلیت های وسیع آن در خلق تصاویری
بدیع و خیا لانگیز و در عین حال واقع گرایانه بود. به طور کلی تأثیر حضور رایانه ها در انیمیشن در سه شکل
و قالب اصلی نمود یافته است:
-1 تولید انیمیشن با کمک رایانه ها؛ 2- خلق تصاویر و انیمیشن رایان های ) CGI (؛ و 3- دستکاری در تصاویر،
از طریق رایانه.
هر کدام از سه شکل مذکور، زیبای یشناسی و شیوه بیانی انیمیشن را به گونه ای ویژه و مختص خود تحت
تأثیر قرار می دهند. این سه نوع تأثیر تکنولوژ یک بر انیمیشن موجب رونق و محبوبیت بیش از پیش این هنر در
بیست سال گذشته گردید و موجب شد تا انیمیشن بتواند دامنه و طیف تقریباً نامحدودی از آفریدن تصاویر را
از تجریدی ترین یا آبستره ترین شکل آنها گرفته تا فراواقعیترین شان در برگیرد.https://dam.journal.art.ac.ir/article_30_bf2f7c36f2689fd3480d82c40e7e5735.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-26491220110823Effect of Cut-out Technique in Designing the Characters as well as
Movement in Iranian Animationsتأثیر تکنیک کات اوت در طراحی شخصیت و حرکت بخشی در انیمیشن ایران1241013110.30480/dam.2011.31FAنجمهبهنا م نیاکارشناس ارشد انیمیشن، دانشگاه هنر، استان تهران، شهر تهرانسیدعلیرضاگلپایگانیمربی گروه انیمیشن، دانشگاه هنر تهران، استان تهران، شهر تهرانJournal Article20110219Abstract
The cut-out technique is a well-known name in the animation world and can be said it is the first technique
that has been used in the animations of the world (and Iran) because of the ease and simplicity
of its implementation. High similarity of cut-out technique characteristics with the Persian traditional
paintings may be concluded that the cut-out is the only technique that can be used for the atmosphere
of Iranian animated features, as well as other techniques. However, the ability for applying the Iranian
handicrafts textures such as Gelimbaafi, Pate’duzi, Moarragh , etc. In this technique mentions us
the compatibility of this technique with Iranian culture and art. At the first glance, cut-out technique
does not include the difficulties and complexities of work in comparison with common techniques of
animation-making, but during its execution, it is absolutely necessary for the sensitivity and accuracy.
Nowadays the mentioned technique is applied in the way of the Iranian animation-makers for saving
the time, manpower and facilities required to be widely used. The main goal of this article is investigation
about the effect of cut-out technique on the design of Iranian animation’s character (viewpoint:
structural, beauty, etc.) and also will be studied the effects of this technique on the movement of characters
under the camera and the software environment. In addition, it can be said that it is an essential
tendency of Iranian artists that applied the cut-out technique in the Iranian animation-making. This
article reviews the history of cut-out technique for answering the following questions:
- How is the process of designing and movement of characters under camera and computer space in
the cut-out technique animation?
- What is the difference between movement of character under camera and computer space in the
cut-out technique animation?
- Why Iranian artists are now more inclined to use this technique?
- Why nowadays the Iranian artist use more and more the traditional textures in this technique?
- What are the common points of Iranian painting and cut-out technique?
- Why the cut-out technique is the closest technique to the Iranian paintings in comparison with other
techniques that will be considered?
- What is the effect of computer on the Iran’s cut-out technique?
This paper is based on descriptive and analytical method and the way of data collection and classification
it has used by English and Persian related books, website, and submitted theses, also has
done some interviews with the expert people in this field. Finally, in the conclusion of this article, the
following items are proposed for improvement of applying cut-out technique in animation-making in
Iran.
- Enlisting the specialist surveillance teams in the animation production centers.
- Appropriate using of this technique in animation productions.
- Utilization of the skilled, creative, qualified and experts in using the executive software of the
mentioned technique.
- Applying the appropriate stories with necessary characteristics for making of cut-out technique.
- Consultation with professionals in the film-making, especially ones with experiences in this technique.چکیده
شیوة کات اوت در زمینة تولید انیمیشن، نام و روش شناخته شده ای در جهان است و می توان آن را
از نخستین تکن کیهایی برشمرد که به دلیل سهولت و سادگی در اجرا و نوع کاربرد آن، در بسیاری از
انیمیشن های جهان و ایران مورد استفاده قرار گرفته است. به دلیل تشابه زیاد خصوصیات تکن کی کا تاوت
با نگارگری ایرانی چ هبسا بتوان نتیجه گرفت که کا تاوت تنها تکن کیی است که در مقایسه با دیگر تکن کیهای
انیمیشن می تواند فضای ایرانی را به خوبی در خود جای دهد؛ و از طرفی نیز توانایی استفاده از بافت های
صنایع دستی ایران- مانند گلیم، پته دوزی، معرقکاری و جز اینها- در این تکن کی، تطابق و سازگاری کا تاوت
را با فرهنگ و هنر ایرانی بار دیگر یادآور می شود. هدف اصلی این مقاله ب هواقع بررسی چگونگی تأثیر تکن کی
کا تاوت بر طراحی شخصیت در انیمیشن های ایرانی به لحاظ ساختاری و زیبایی شناسی است. همچنین این
تأثیر در نوع حرکت بخشی به لحاظ اجرا در زیر دوربین و محیط نرم افزار در جهت یافتن دلایل اصلی گرایش
هنرمندان ایرانی در زمان حاضر به این سبک از انیمیشن مورد بررسی قرار می گیرد. در این تحقیق از منابعی
چون کتاب ها و سای تهای لاتین و فارسی، پایان نامه های ارائه شده در این زمینه و نیز انجام مصاحبه با افراد
صاحب نام در این تکنیک، استفاده شده است.https://dam.journal.art.ac.ir/article_31_95ffd10b4b47978e6489b070848dfba4.pdfدانشگاه هنرنامه هنرهای نمایشی و موسیقی2008-26491220110823Music Perception and the Dominance of Social Inhabitancies over Music Training
School: Case of Western Music Performers Living in Iranتفوق بستر اجتماعی بر مکتب آموزشی، در درک و دریافت موسیقی (مطالعه موردی: نوازندگان سازهای غربی ساکن در ایران)1351253210.30480/dam.2011.32FAمحمدرضاآزاده فراستادیار گروه موسیقی، دانشگاه هنر، استان تهران، شهر تهرانJournal Article20110207Abstract
Analyzing the conventional music of different cultures using their own generated tools of music
theory is a preferred approach to illustrate the fundamental structure of music by insiders. Facts made
available through the mentioned approach explains the construction of music and the musical matters
in every culture which are not known through the conventional analytical systems, developed
and spread by western music theory. Such efforts have been done in examining the rhythmic principles
of Iranian music in some previous studies of authors. What occurs more in the current study
is using the music theory generated within the Iranian culture to examine the western viewpoint of
music performers living in such cultures to see how breathing in a different culture can influence the
fundamental musical perspective and the music perception, even if one plays a music coming from
thousands of miles outside that specific culture. In perusing this project a subject of 70 performers
participated. Among them 35 performers or the players of various western musical instruments wore
living in Iran (mostly natives) and the 35 persons were among players of Iranian traditional instruments,
and all of the them have participated voluntarily. The average professional background of the
performer was over 7 years. Three kinds of pieces played for both groups. The first one was purely
a piece of western music recorded and produced in West, entitled “Night is my sister” by Edna St.
Vincent Millay (Soprano by Wendy Lashbrook with 2’ 25” duration. The second piece was a Russian
one by Rimsky-Korsakov called “The Rose and the Nightingale” with 2’ 32” duration. The third one
was a piece of Purely Iranian traditional music by Aref-e-Ghazvini, recorded in Iran entitled Āmān,
with association of one of the masters of lyric / vocal Iranian traditional music, Mohammad Reza
Shajarian, and its duration was 4’ 26”. A questioner which was designed based on the fundamentals of
Iranian music theory handed to subjects to fill after listening to each piece. Some of the questions were
merely designed to examine the musical taste as well as the habit of subjects. There were questions
among them for testing if they think the pieces contain enough repetitions, ornamentations, rhythmic
complexities, distinguishable melodies, the compass, etc.; while the other ones examined the musical
ability and understanding of the subjects, such as asking about the strategy of composer to extend the
melodic range, boundaries of phrases, causes of rhythmic complexities, the nature of ornamentations,
lyrical-musical relationship and so forth. Results showed that the subjects of both groups shared views
in many significance issues in the two specific lines of investigations: musical tastes and the musical
judgments. The players of western music participated in this project have mostly been educated in
conservatories, in which the only kind of music that was taught has been the Western one, and The
methodology and principles of teaching were same as the methods taught in West. Therefore, it can
be concluded that the cultural inhabitancy influences on musical outlook of the person, more than the
musical schools do. In the other words, the common view points between the performers of Iranian
instruments and those of the Western, mostly based on the musical habits coming from the principles
imposed mostly by the culture, rather than anything else.چکیده
مطالعه حاضر از راهکاری بی نرشت های در «قوم موسیق یشناسی » و «روا نشناسی موسیقی » برای دستیابی
به اهداف تع یین شده استفاده م یکند. برای این منظور، اصول تئور کی موسیقی پرورشیافته در ایران برای
بررسی نوازندگان سازهای غربی که در ایران زندگی میکنند مورد استفاده قرار می گیرد تا مشخص شود
که چگونه تنفس در فرهنگ ایرانی، در شکل گیری ادراک آنها از موسیقی تأثیر نهاده است. بدین منظور دیدگاه
دو گروه از نوازندگان ساکن در ایران به تعداد 70 نفر، شامل نوازندگان سازهای غربی و نوازندگان سازهای
ایرانی، در دو زمینة اصلی «ذائقه موسیقایی » و «تشخیص موسیقایی » مورد پژوهش قرار گرفتند. مواد صوتی
مورد استفاده در این پروژه شامل سه قطعه موسیقی مرکب از کی قطعه از اروپای غربی، کی قطعه از اروپای
شرقی و کی قطعة ایرانی است. تجزیه و تحلیل و مقایسة پاسخ های نوازندگان سازهای ایرانی با آنانی که
سازهای غربی م ینوازند، مشخص کرد که تشابهات دیدگاه های دو گروه بسیار فراتر از افتراقات آنهاست.
از آنجا که نوازندگان سازهای غربی شرکتکننده در این پژوهش، همگی در نظام آموزشی موسیقی کاملاً
غربی پرورش یافت هاند، می توان نتیجه گرفت که فاکتورهای فرهنگی اجتماعی استیلا و نفوذ بیشتری بر درک
و دریافت آنان از مکتب آموزشی ایران دارند؛ ولو سالیان متمادی تحت آموزش آن مکتب قرار گرفته باشند.https://dam.journal.art.ac.ir/article_32_cfccff08a70b89f5f19c30cc42c437c2.pdf