نوع مقاله : مقاله پژوهشی
1 دانشجوى دکترى پژوهش هنر، پردیس بین المللى کیش، دانشگاه تهران، ایران
2 استاد، دانشکده هنرهاى زیبا، گروه تجسمى، دانشگاه تهران، ایران
3 استادیار، دانشکده هنرهاى زیبا، گروه هنرهاى نمایشى و موسیقى، دانشگاه تهران، ایران
عنوان مقاله [English]
“Drma” as an art is a universal category and “display” is a very old phenomenon among human beings. Today, the play as a text (art made by humans) has a special position in art history. One of the topics discussed in art history is theories about the emergence of a phenomenon until it becomes definable and accepted in the form of a special-absolute art. In this evolution, the identification of the origin, factors, and elements affecting the formation of that art is of great importance, because theorists have justified their ideas by referring to them and using the various sciences, and, on the other hand, it can influence their application in the present and future condition of arts. In order to approach the origin of this phenomenon, we should analyze the life of primary man; in particular, we should consider their rituals in two social contexts and beliefs, both of which have fundamental use in movement ritual symbols. the present study is based on a descriptive-analytic and deductive similarity design and seeks to recognize “dramatic art” as a historical-social and religious-artistic phenomenon and it attempts to review the ignored parts of the history of this art in the past and also analyze their role in the creation and formation of ritual-theatrical movements and subsequent theatrical traditions and dramatic art. Civilizations have their own existential status and expand in their particular circumstances. The land known today as Iran has a long history. The historical-artistic study of Iran in its distant past will lead to a wider section of present-day Iran, i.e. the Iranian Plateau and its native Najd people. The prehistoric documents of the formation of Iranian empire on the Iranian plateau and in the present-day Iranian interior testify to the civilization’s complete control over their art history.The remaining stacked dishes are the best proof of that. Study of applied-artistic dishes can reveal both a large part of the people’s identity on this land and convey more in-depth information on other arts. Part of these motifs show human motions in rhythmic motion. Among these rhythmic motions on the utensils and instruments, there are distinctive motions than the other dancer motifs, which today can be described as a “dance with Samacheh”.”Samache” has not ceased in its pre-historic past and is still present in many cultural, artistic, social and religious contexts in most societies and cultures. It will also reveal the origin, base, process and factors associated with its formation and consequence of its continuation and use. the social and religious contexts of this pervasive phenomenon in the culture of the ancients will show that “dance with Samacheh” is an integral part of the life mixed with metanarrative world view of pre-historic people. Samacheh dance can be the very origin of arts such as drama and drama-dance. Accordingly, this article aims to explore this phenomenon and its course in Iran in order to study the importance of recognizing and introducing this phenomenon for historical and artistic identification in this land by historical-analytical method.