https://dam.journal.art.ac.ir/article_1463.html Extended techniques constitute one of the strategies employed by contemporary composers to explore new sonic possibilities. This research investigates a range of extended techniques for Kamancheh, alongside the notational system to accurately represent them. While certain techniques discussed - such as variations of vibrato - are already present within traditional Kamancheh performance practice, a standardized and clear method for their notation has yet to be established. As such, this research aims not only to identify and classify extended techniques but also to propose proper systems for their notation. The techniques explored are categorized into three main groups: 1. Using different parts of the instrument’ body, 2. Adaptation of extended techniques from other string instruments if applicable, and 3. Modification of traditional techniques of Kamancheh to yield new sonic effects. These techniques are further divided into two general types: those without specific pitch, which cannot be precisely notated on the staff but are instead marked with exact duration, and those with defined pitch that allow for exact notation on the staff. The research methodology includes library research, score analysis, and consultations with expert performers. The notation symbols proposed herein have been chosen based on the characteristics of each technique and their resemblance to established practices within the string instrument family. https://dam.journal.art.ac.ir/article_1470.html Richard Foreman’s Lava stands as one of the most distinctive experiments in postmodern theatre, where image, sound, movement, and ritual repetition take precedence over linear narrative. The central question of this article is how visual metaphors and metonymies function as the primary mechanisms of meaning-making in this performance. To address this, the study draws on Charles Forceville’s theory of multimodal metaphor, moving beyond text-based approaches to examine the interplay of body, stage, and visual signs in the process of signification. Methodologically, the research adopts a combined approach. First, it employs corpus-based techniques using software such as LancsBox and Voyant to process dramatic texts, performance data, and related documentation. Next, informed by Forceville’s multimodal framework, it investigates the ways visual metaphors and metonymies operate within the production. For Forceville, multimodal metaphor occurs when source and target domains are expressed through different modes—for example, image, sound, and text—and when meaning is conveyed across channels such as verbal/written, visual, gesture/movement, sound/music, and even sensory perception. He highlights the importance of co-presence in enabling the transfer of meaning from source to target. The integration of Forceville’s multimodal theory with corpus-based methods makes it possible to connect linguistic cues in the text with visual, auditory, and performative signs. The analysis of repetitions and semantic clusters helps identify focal words or domains associated with source and target, which can then be aligned with performative elements such as the body, mise-en-scène, lighting, and music in order to detect and evaluate multimodal metaphors. The examination of Lava reveals that patterns such as triadic structures, sound loops, ritualized actions, and the body as language function not merely as formal devices but as fundamental frameworks shaping audience experience. These structures construct metaphorical-metonymic networks that invite reflection on concepts such as identity, language, and self-awareness. The findings suggest that approaches like Forceville’s play a crucial role in advancing our understanding of multimodal mechanisms of meaning-making. In combination with corpus-based methodologies, this framework provides an effective model for analyzing complex performances such as Lava. https://dam.journal.art.ac.ir/article_1474.html Violence in visual media—particularly in animations produced for children and adolescents—can lead to significant psychological and behavioral consequences. This raises the question of how, within the framework of theoretical findings in media psychology, practical and implementable strategies can be developed for depicting battle scenes in children’s and adolescents’ animations without eliminating such scenes altogether. The present article aims to formulate these operational strategies. This study adopts a qualitative approach and, through content analysis grounded in media psychology theory, examines effective methods for representing battle scenes. The findings indicate that by applying 17 practical strategies derived from the analyses, the psychological and behavioral harms resulting from children’s exposure to violent content can be substantially reduced. These strategies are grounded in theories such as social-cognitive theory, desensitization, cultivation theory, cognitive–associative theory, and emotional transfer, and are applicable across the domains of narrative design, mise-en-scène, editing, and character development. Key strategies include the use of long shots in depicting violence, avoidance of excessive realism, representation of the negative consequences of violence, punishment of violent perpetrators, and refraining from combining humor with violent scenes. By integrating theoretical and applied frameworks, this article provides a roadmap for filmmakers, cultural policymakers, and regulatory institutions toward the production of ethically oriented, safe, and educational animations. https://dam.journal.art.ac.ir/article_1475.html Traditional Japanese theater forms maintain a profound connection with the religious beliefs of this land, including Shintoism and Zen, to the extent that the formation and continuity of many of them can be attributed to these rituals. Various elements of these performances, including the role-playing of characters present in them, adhere to specific principles that are often influenced by the aforementioned beliefs. In this context, given the prominent position of child performers and the precise regulations governing their participation, particularly in the three forms of Noh, Kyōgen, and Kabuki, examining their presence holds significant importance, both in relation to Japan's prevailing beliefs and in understanding the rules governing the training and performance of children in these plays.​ This article aims to analyze the role of children in these performances, referred to as kokata in Noh and Kyōgen, and koyaku in Kabuki, and extract educational implications for children's theater. The study employs a descriptive-analytical method with a qualitative approach, based on library resources, framed within the theoretical constructs of the innate sanctity of children, Zeami's concept of yūgen, and the hereditary system of acting.​ The findings reveal that in Noh, kokata not only preserves the sanctity of roles such as emperors through their inherent purity but also contributes to realizing yūgen with their natural delicacy, while ensuring a deliberate distance between performer and role; in Kyōgen, the presence of kokata primarily serves the continuity of family traditions and gradual familiarization with the stage; whereas in Kabuki, koyaku is embedded within a stratified hereditary acting system, linking early stage exposure with professional training and heightened audience impact. Thus, child performance in these three forms reflects the interplay of cultural worldview, aesthetic principles, and educational patterns unique to each tradition; features such as training from childhood, family involvement in rehearsals and performances, and aligning school education with performance schedules offer inspiring models for contemporary methods of theater training for children. https://dam.journal.art.ac.ir/article_1476.html In recent decades, Lisa Feldman Barrett’s theory of constructed emotion (TCE) has become one of the most influential interdisciplinary frameworks in cognitive science and affective psychology by redefining the relationship among the brain, the body, and feeling. This study adopts a qualitative, interpretive approach and, using theory-driven narrative analysis, seeks to reread the mechanisms of emotion construction within animated storytelling and to show how the brain’s predictive logic is represented in contemporary animation. The research data are drawn from an examination of the plot and narrative–affective sequences of two animated films—The Red Turtle (2016) and The Wild Robot (2024)—as case studies. The analysis is grounded in a proposed six-level analytical model in which the main components of Barrett’s theory (core affect, emotion categorization, prediction and prediction error, allostatic regulation, cultural embodiment, and the emotional teleology) are translated into corresponding levels of plot. The analytical procedure is as follows: first, Barrett’s theoretical framework and the analytical model are formulated; next, each animation is analyzed separately across the six levels; then, the results are compared from a comparative perspective; and finally, the theoretical and interdisciplinary implications are discussed. The findings indicate that both works recreate the predictive brain’s mechanism in the making of feeling, but with different orientations: The Red Turtle frames emotion within the horizon of nature and the silence of the natural body, whereas The Wild Robot extends it within an artificial, linguistic, and interspecies milieu. In the former, the human body reaches bioregulatory balance through direct contact with the world; in the latter, a network of human, animal, and machine bodies achieves affective co-regulation. Accordingly, emotion in animation is not merely the representation of feeling; it functions as the plot’s internal logic—an algorithm of prediction, error, and recalibration through which meaning is generated. The results suggest that, in contact with visual narrative, Barrett’s theory moves beyond a strictly neuroscientific explanation and approaches a “constructive ontology of emotion,” a view in which feeling is not merely a bodily reaction but a mode of perceiving the world and the self. By linking neuroscience, narratology, and aesthetics, this study opens a new horizon for interdisciplinary research on animation and theory of mind. https://dam.journal.art.ac.ir/article_1477.html Ta’zieh and shabih-khani (passion play) are the most important forms of Iranian-Islamic dramatic art, emerging from Iranian culture and beliefs. They have consistently been considered a resource for achieving Iranian and national theater. National theater, in its simplest definition, is a type of Iranian performance that, in form, norms, rules, content, story, and perspective, must reflect the identity of the people of this land. Modernization and new social conditions, along with socio-political developments, despite the glory of this national art during the Qajar period, led to its decline and prevented it from continuing its evolutionary path.The necessity of addressing such topics stems from the fact that, despite the passage of years, Iranian theater has not yet been able to create a form of Iranian theater under the title of “national theater” and display a worthy and appropriate identity in this field. Scattered efforts and different attempts have not yet achieved the necessary coherence to achieve independent results in adopting this approach. Among these, the art of shabih-khani is effective as one of the most profound forms of Iranian performance. “Gusheh” (episodes) are small, supplementary, and yet independent assemblies that originated from Ta’zieh and pursued a new path and approach towards making Ta’zieh more popular and addressing social and contemporary issues. According to the narrative and theory of “Count de Gobineau,” they could lead to the creation of national (Iranian) theater. In this research, which is analyzed using an analytical-comparative method, while examining the social, political, and historical conditions of Iran during the Qajar period, five examples (The Love Affair of Hadiqa, Abbas the Hindu, The Wedding Procession of Fatima al-Zahra, and the “Gusheh” of Fath-Ali Shah and Naser al-Din Shah) are investigated and evaluated as instances and examples of popular performance and the evolutionary context of Iranian theater. The findings show that ta’zieh and the elements of shabih-khani, with their capacity to blend tradition and innovation, could have provided a foundation for a national Iranian theatre. However, due to cultural–historical obstacles and institutional neglect, the process of development and dynamism in this theatrical form remained incomplete. https://dam.journal.art.ac.ir/article_1478.html A key concept in the thought of Jean-Paul Sartre, which explains how the self is experienced in relation to the Other, is the phenomenology of shame and the look in an encounter with the Other. This interdisciplinary study analyzes the characters of Emad, Rana, and the rapist in Asghar Farhadi's film, The Salesman, to investigate the concepts of shame and the look in Farhadi's cinema. The main issue of the research is to show how these concepts, as two fundamental principles in Sartre's existentialist philosophy, are represented in these three characters, and how their encounters with the Other influence their individual identity. The purpose of this research is to describe how shame and the look are manifested in Farhadi's cinematic narrative by analyzing the encounters of the three main characters with each other and with society. In this article, in order to achieve this goal, a qualitative method is used to analyze the film's narrative content. The theoretical framework of the present research is based on Sartre's existentialist philosophy, especially the concepts of shame, the look, and the Other, which are explored in the intertwined interactions of the film's characters. The findings of the research show that in The Salesman, shame and the look, as two intertwined themes, play a fundamental role in shaping the relationships between Emad and Rana, as well as in the presence of the rapist. Shame is manifested in Emad's character in an internal way and in his confrontation with his inner self, while the look of the Other, especially in his encounter with Rana, affects his psychological context as an external force. On the other hand, the rapist reaches an internal collapse due to the shame caused by his presence in front of the look of the Other. This complex interaction between shame and the look in the context of the film's story explains the challenges that the characters experience in confrontation with themselves and the Other. The results of this research indicate that The Salesman, as an acclaimed work in contemporary Iranian cinema, has a remarkable capacity to embody existentialist concepts. Farhadi's narrative, with its in-depth representation of feelings stemming from the experience of shame and the look, has been able to reveal complex layers of human relationships. These results can help to better understand the intersection of philosophy and cinema and provide a basis for similar analyzes in other cinematic works. https://dam.journal.art.ac.ir/article_1482.html Cadenza for Solo Violin by Krzysztof Penderecki is a unique and compelling composition that exemplifies the complexities and innovations of twentieth-century solo string repertoire. As an autonomous work—detached from the traditional function of a cadenza within a concerto—it redefines the expressive and struc-tural possibilities of solo violin music. Penderecki challenges conventional formal and notational systems by composing a piece that, while rooted in a tripartite form reminiscent of the classical slow–fast–slow struc-ture, is devoid of traditional bar lines, time signatures, or clear metrical subdivisions. This radical departure from standard compositional practices enables the composer to prioritize expressive–executive elements such as dynamics, accents, and rhythmic flexibility as the primary means of shaping musical meaning and coherence. The present study adopts a qualitative, descriptive–analytical approach to examine the interrela-tionship between these expressive elements and the formal architecture of the piece. The central research question focuses on how dynamics, accents—particularly agogic accents—and rhythmic patterns contribute to the construction of form and musical language in the Cadenza, and how these elements collectively in-form interpretation and performance. While the absence of metrical guidance may suggest complete free-dom, the analysis reveals that Penderecki employs a tightly controlled and deliberate system of expressive cues that act as structural anchors, guiding the listener and performer through the unfolding musical narra-tive. The research begins with an overview of the macrostructure of the work, identifying its general formal trajectory and expressive pacing. This is followed by a micro-analytical examination of dynamic shaping, including sudden contrasts, extended crescendos and decrescendos, and nuanced gradations that create ten-sion, release, and directional flow. The role of accentuation, particularly the use of agogic accents and artic-ulation, is then explored as a vehicle for phrasing, emphasis, and formal delineation. Furthermore, rhythmic patterns—often asymmetrical, fragmented, or texturally dense—are shown to play a critical role in maintain-ing internal coherence and in shaping the expressive grammar of the piece. Through this detailed analysis, the study argues that Penderecki constructs a musical language in which expressive–executive parameters serve dual functions: they not only add emotional intensity but also provide the structural scaffolding typi-cally fulfilled by traditional form and metric devices. In this way, Cadenza for Solo Violin exemplifies a modernist aesthetic that blends freedom with constraint, intuition with logic, and gesture with architecture. The aim of this research is to deepen understanding of Penderecki’s compositional techniques and to offer interpretive insights for performers seeking to navigate the technical and expressive challenges of the work. By illuminating the internal logic of the Cadenza, this study contributes to the broader discourse on perfor-mance analysis and interpretation of twentieth-century solo repertoire. Although limited academic attention has been paid specifically to this work—most notably in Darville’s motivic analysis—there remains a gap in scholarship regarding its expressive–formal design. This article seeks to fill that gap by foregrounding the dynamic interplay between structural elements and expressive detail, proposing that Penderecki's Cadenza articulates a personal and disciplined musical voice, where freedom emerges not from the absence of struc-ture, but from its reconfiguration. Moreover, based on an examination of the composer’s other solo works, it appears that the overlapping use of the aforementioned expressive–executive elements constitute a recurring approach in Penderecki’s musical language, and that their central role in shaping form and expression is not confined to the Cadenza. https://dam.journal.art.ac.ir/article_1495.html Generic evolution is a topic that theorists from various periods have sought to explain and classify in diverse ways. Indeed, the issue of generic evolution in film studies attempts to examine the reasons for and the modes of transformation in genre films. In defining generic evolution,Schatz refers to the simultaneous growing of audiences and filmmakers in response to the experience of a genre work. From Schatz's perspective, this evolution occurs simultaneously within the film's form (inside) and culture (outside). Schatz believes that over time, a kind of self-consciousness towards fixed conventions of the genre takes place. Generic evolution signifies a shift from social values to self-conscious and self-reflective formalism values. According to Schatz, generic evolution begins with the critique and dismantling of generic and social values, then shifts towards the values of form and aesthetics. For Schatz, generic evolution is when form and its related values becomes the main content of the work. Genre evolution is a process akin to Darwinian adaptation, where films rejuvenate themselves by aligning with contemporary times. Over periods of change, both audiences and filmmakers recognize the need to refresh genre clichés to keep them relevant and engaging. As Thomas Schatz argues, this evolution unfolds simultaneously on internal (formal) and external (thematic and cultural) levels. Internally, it pertains to the film's formal attachments and visual styles. Externally, it reflects the evolving political and social demands of newer generations, who cultivate fresh ideologies and values that challenge outdated norms. This dual dynamic ensures genres don't stagnate; instead, they mutate to mirror societal shifts. For instance, classic Westerns once emphasized rugged individualism, but modern iterations incorporate themes of environmentalism or identity politics, responding to current debates. Similarly, horror genres have evolved from supernatural fears to psychological terrors influenced by real-world anxieties like pandemics or technology. Schatz's framework highlights how these changes prevent genres from becoming obsolete, allowing them to survive through innovation. In Bertrand Bonello’s films, a contemporary French filmmaker, a manifestation of Schatz's ideas on the elements of generic evolution can be observed. In Bonello's films, visual form is fragmented, and genres are employed based on their aesthetic effect on the viewer. Bonello utilizes ambiguity and avoids straightforward storytelling. Indeed, with Bonello, the use of generic intrigues shaped with a deviation from conventional storytelling, privileges the internal experience of cinematic moments over a clear resolution in the story. This research focuses on three films from Bonello’s filmography. Although one can find generic evolution in Nocturama (2016) or House of Tolerance (2011), but these three selected films are able to demonstrate all of Bonello’s approaches towards genre: Zombi Child (2019), Coma (2022) and The Beast (2023). In Zombi Child by superimposing two different time periods, in Coma by merging the subjective state of the main character with absurd and formalistic elements, in The Beast through fragmented images of female embodiment, Bonello creates generic experiences through self-reflective form. This research proposes that the dominance of formalistic and aesthetic elements in Bonello's films can be analyzed through Schatz's perspectives. https://dam.journal.art.ac.ir/article_1501.html In recent decades, film and philosophy and their relationship have given rise to significant research in a field called ‘Film-Philosophy’. By studying the thought of Stanley Cavell, one of the Film-Philosophy’s founders, a breakthrough approach is proposed: film is an art form that, on the one hand, has the capacity to cinematically explore philosophical themes, and on the other hand, motivates philosophy to respond in its own unique way to the experience that film itself creates for the audience. This theoretical framework forms the basis of this article, which explores the cinema of the prominent French New Wave filmmaker Eric Rohmer, using A Tale of Winter (1992) as a case study, in confrontation with one of the most fundamental problems of modernist philosophy—skepticism. According to Cavell, cinema is the moving image of skepticism. Cavell pursues his discussion of depicting skepticism and overcoming that crisis through cinema by introducing two Hollywood subgenres—‘the comedy of remarriage’ and ‘the melodrama of the unknown woman’—in two film-philosophy books that bear these very titles. As qualitative research, this article attempts to show how Eric Rohmer responds to the problem of recognition of the other and skepticism in A Tale of Winter through representing the persona of Félicie; It employs a combined descriptive–analytical method and draws on Cavell’s two aforementioned works in cinematic philosophy. Through adopting a becoming equivalent to that of the female protagonists of the comedy of remarriage and melodrama of the unknown woman, and in virtue of self-reliance and acknowledge, Félicie becomes responsible for her own education and cultivation in a world that seems to be alone and the roots of other minds’ recognition and belief have been completely lost. https://dam.journal.art.ac.ir/article_1512.html https://dam.journal.art.ac.ir/article_1513.html The expansion of video games as a contemporary form of artistic expression has created new possibilities for reconsidering narrative and genre concepts within the field of performing arts. Among these genres, dystopia has gained particular significance in narratological studies due to its critical capacity to represent power relations, social control, and the crisis of modern human identity. The present study examines how critical dystopia is constructed in the video game Inside and explains its narrative mechanisms based on Tom Moylan’s theory of critical dystopia. The main research question investigates how dystopian narration in this work is formed through artistic and spatial elements and how it relates to the concept of critical dystopia. The study aims to analyze environmental storytelling structures, spatial organization, character embodiment, and processes of meaning production in the game world as an artistic and performative text. This research adopts a qualitative methodology with an analytical–interpretive approach grounded in narrative analysis, in which data were extracted and interpreted through a systematic reading of the game text. The findings indicate that Inside, through the elimination of verbal narration, the use of controlled architecture, the design of a vulnerable body, and an open-ended conclusion, realizes the model of critical dystopia. In this work, narration emerges not through a traditional plot structure but through spatial and performative experience. The study concludes that video games, similar to contemporary performing arts, can function as artistic platforms for the critical representation of power relations and for producing dystopian narratives within an interactive experiential framework.