Ba Caravan-e Soukhteh: Death of the Dramatic Signs on the Stage

Reviewing intralingual and intersemiotic translation carried out onto the stage from the perspective of Peirce’s interpretive semiotics, in light of Roland Barthes’ The Death of the Author, introduced initially in 1967, the current paper explored death of the dramatic signs of the Persian drama text باكاروانسوخته )پابرهنه،لخت،قلبيدرآغوش )/Ba Caravan-e Soukhteh (Pa berahne, Lokht, Ghalbi dar Aghoush), a self-translation by Alireza Koushk Jalali (2009) through its performed drama titled باكاروانسوخته /Ba Caravan-e Soukhteh (2017) directed and played by Seyed Hamid Sajadi. Observing the performed drama, the key interrelated verbal and non-verbal signs which were highlighted throughout the drama text were kept in view to see whether and how these interdependent and cooperative signs were resurrected passing their path onto the stage. What achieved was that prior to multiple interpretation of the story through the medium of translation/performance, to be born, the spectator ought to be truly confronted with the (verbal, acoustic and/or visual) rebirth of the vital cooperative theatrical signs on the stage.