Chapter One:
Introduction / Generalities of the research
Performance after language is the first imitation that humans use from a young age to create moments and adventures that they desire to experience; Without knowing it, he is performing a show with different effects and conventions. Because he has not yet understood the rules and principles of the show in his first imitations. Like the imitation he makes of wearing the big shoes of his mother and father, or wearing a dress that is older than him and for a moment, he puts on the role of his parents. A doll that a child hugs to imitate the sense of motherhood, and an airplane that flies across the room to imitate success and experience the pleasure of being at the top, are all examples of this sense of imitation. If, after some time, entering into the role of a father does not make him need to wear big shoes, but another behavior that shines from within himself accepts and justifies his existence as a father. Someone who is his constant companion and has the ability to accompany him in different roles. Now there are some viewers and some actors. Some influence and some are influenced. Sometimes they bring their fictional characters to life and sometimes their imitation characters. But in the meantime, there must be someone who knows that there is someone in the audience who is a child himself. He needs to watch something and someone who makes his moments sweeter and more beautiful.
This research consists of four chapters. The first chapter is related to the generalities of the research. In the second chapter, we deal with the scope of theoretical studies and provide an overview of key words and their definitions. Words like: imagination, fantasy and excitement are known in this chapter.
In the third chapter, we reach the category of semiotics and examine the factors presented in the previous chapter in examples of children's stories. In the fourth chapter, we examine the same key words in the selected dramatic texts.
Statement of the problem
Art has always been involved with human life and the mission that is always expected from it has been seen in all aspects of political, social, family and educational life. But apart from the mission and essence of art, how to use it to be more effective is a separate matter. Because every possibility can leave negative effects to the extent of its positive effect. Especially when it is presented in front of a specific audience. The issue discussed in this article is the effect of performing arts on children, if the tools used in children's performances are the ones that can have a permanent effect on the child's mood and psyche. The purpose of this research is to determine what emotions the children's show in Iran contains and how it is involved with the child's psyche and why some emotions and emotions are not seen in Iranian children's shows.
Investigation of positive emotional tools in children's dramatic works.
Investigation of negative emotional tools in children's dramatic works.
Investigation of the impact of negative and positive emotions in the child's soul and psyche.
Investigation of political and social issues in choosing positive or negative emotion in the work of drama.
Investigation of the unconscious influence of prejudice, ethnic-ritual and family issues in children's dramatic works.
Investigating the presence of imaginative and fantasy tools in children's plays in Iran.
The importance of the research topic and the motivation to choose it.
The importance of this topic and the research about it, more than anything, comes from the importance of its audience. Since children are the most impressionable audience and the simple and white slate of children's minds is ready to be most influenced by their environment and what they see and hear.. Therefore, what art provides to the child as food for the soul and soul must certainly be clean and progressive in all aspects.
Since the author has dedicated all his years of activities to writing and directing children's works, and he is closely familiar with the positive and negative effects of various works on children, and has prioritized the motivation of research and investigation in this issue.
Research questions:
This research seeks to find answers to these four questions:
What kind of emotions are used more in children's drama and are these emotions useful for him or not?
What emotions attract the child's attention and keep him as his special audience?
Does the human unconscious, individual and collective unconscious - archetypes - play a role in choosing the emotions that are used in a drama work? Do they have an effect?
Does the tendency towards modernity and living in the age of technology reduce the amount of imagination and fantasy in children's works and lead them to the realities of life?
Hypotheses:
_ It seems that nowadays in children's theater and the works prepared for children in Iran, positive and negative emotions are used more than those that can be used in real life and The living conditions of the Iranian people should be tangible and marketable. Because due to livelihood, social, political, and religious life and what has been respected for many years under the name of a nation's customs and their observance is considered a social contract, this realism has quickly affected children and even before children enter social life and face them, these issues greet children and occupy their minds. The result of this is dealing with children early and without demanding the truth. That too from the aspect that only shows the tense truth to children. A truth that includes a sense of responsibility, being obliged to succeed, and trying to maintain the survival of oneself and one's family and motherland. As in many of the works that have been created in Iran during the last thirty-five years, this type of works strongly prevails over other examples. It seems that this has been successful for at least three decades. Because with the above topics, the child is subjected to deep emotional and family stimuli and his identification is stimulated, he is strongly dominated by these dramas and unconsciously keeps their stories in his mind for a long time. Is it considered or not?
Why is fantasy seen less in children's dramas in Iran?
Why do Iranian children imagine less?
Why are negative emotions such as fear and war, anger more visible in Iranian dramas for children?
Why are emotional emotions such as loving, falling in love, kindness, less seen in Iranian children's dramas?
Is war imposed in Iran? After the Islamic Revolution, has it had an impact on children's plays?
Do ethnic and tribal issues have an effect on storytelling and dreaming with reality in Iranian works? It should be seen more than imagination and fantasy.
In this regard, it can be said that political and social issues, including the Islamic revolution and the imposed war and the Islamic government, have caused the confrontation with difficult life issues to enter children's shows and draw them more towards reality and realism than fantasy, and also religious and religious issues have caused less attention to myths and legends, and also because of the audits of the Islamic Republic in the matter of showing the emotions of fear, anger and effort. In order to make the show more dynamic, emotions and feelings and love are used.
The knowledge we have of a group or phenomenon, goes back to the external manifestations and behavior that we see from it. These manifestations are often physical and tangible behaviors and effects that direct our minds towards an approach or outcome.