كليدواژه :
تامه , واقعيت فراروزمره , ساتوري , قلمرو حسي , ديالكتيكِ گفت‌وگويي
چكيده فارسي :
د. ت سوزوكي ) 1966 1870 ( در خطاب ههايي بر ذن بوديسم، با مقايسه ي دو شعر از ماتسئو
باشو ) 1694 1644 ( هايكوسراي بزرگ ژاپني و آلفرد تني سون ) 1892 1809 ( مل كالشعراي
بريتانيا، از دو نوع تفكر كه به هنر نيز سرايت پيداكرده پرده برمي دارد. او خصوصيت توصيف
شرقي را در مشاهده كردن و نظاره گري و خصوصيت توصيف غربي را در تصاحب و از آن
خودسازي م يبيند و از اين نكته به برآيند دروني يك هنرمند مي رسد. در اين نوشتار با بررسي
انسان شناسانه و با استفاده از نظريه ي سوزوكي در مورد حدّ افتراق شرق و غرب، سعي در
) بررسي ديالكتيكي داريم كه منجر به توليد آثار كساني همچون يوكيو ميشيما ) 1970 1925
و رابرت ويلسن ) 1941 ( شده است. ميشيما با تمركز بر گونه هاي كهن نمايش در ژاپن، اقدام
انيشتين در « به نگارش نمايشنامه هايي مدرن براي كابوكي و نو نمود. ويلسن نيز در نمايش
با استفاده از سنت هاي نمايشي ژاپن، اثري مدرن خلق كرد. هر دو فرد در تلاش بودند » ساحل
كه گونه هاي كهن را از كاركرد موزه اي خارج كنند و به شاكله هايي جديد از بطن سنت دست
يابند. اما از ديرباز اين نگراني وجود داشت هاست كه گونه هاي كهن به واسطه مناسباتي كه در
خود دارند بايد در همان ساختار انجام پذيرند زيرا خارج شدن از آن ساختار مساوي با خروج
از كالبد خود خواهد بود و اين به منزله ي تهي كردن سن تهاي پيشين تلقي مي شود. بنابراين
بايد با اين سنت چه كرد؟ ازاي نرو پرسش اين پژوهش در چگونگي مواجهه با سنت، با استفاده
از دره مآميختگي دو سنت شرق و غرب است. فرضي هي اين مقاله مبتني بر اين است كه ميشيما
و ويلسن سنت ها را قداست زدايي كرده اند اما در عين حال روح آن را حفظ نمودند. در اين
راه، ميشيما به متن توجه نمود و ويلسن ساحت بدن و تقطيع كلامي و بدني در يك نمايش
نو را مورد توجه قرارداد. هر دو نفر، سلوك را حفظ كردند و فرآيند مدرن سازي را با سلوك
همراه كردند. به نظر آنان در ساحت مدرن نيز بايد آيين سازي جديدي تحقق پذيرد و بدون
آيين جديد، آيين كهن مدرن سازي نم يشود و امكان به نمايش درآمدن نمي يابد.
چكيده لاتين :
Abstract
D.T. Suzuki(1870 - 1966) in his sermons on Zen Buddhism, by
comparing two poems by Basho(1644 - 1694) and Tennyson(1809
- 1892), reveals two types of thought that have also spread to art.
He sees the nature of the Eastern description in observation and the
nature of the Western description, and from this he arrives at the inner
result of an artist. In this article, using an anthropological study using
Suzuki’s theory of the difference between East and West, we try to
make a dialectical study that has led to the production of works by
Yukio Mishima (1925 - 1970) and Robert Wilson(1941-). Focusing on
the old forms of drama in Japan, Mishima began writing modern plays
for Kabuki and Noh. Wilson also created a modern work in Einstein’s
play on the beach, using Japanese theatrical traditions. Both were trying
to deconstruct old species from museum use and achieve new shapes
from the heart of tradition. But there has long been a concern that the
ancient species, because of the relations they have within themselves,
should be done in the same structure, because leaving that structure
would be tantamount to leaving their body, and this was seen as an
emptying of previous traditions. So what to do with this tradition?
Hence, the question of this research is how to deal with tradition,
using the fusion of two traditions, East and West. The hypothesis of
this article is that Mishima and Wilson sanctified traditions but at
the same time preserved their spirit. In this way, Mishima turned hisAbstract
D.T. Suzuki(1870 - 1966) in his sermons on Zen Buddhism, by
comparing two poems by Basho(1644 - 1694) and Tennyson(1809
- 1892), reveals two types of thought that have also spread to art.
He sees the nature of the Eastern description in observation and the
nature of the Western description, and from this he arrives at the inner
result of an artist. In this article, using an anthropological study using
Suzuki’s theory of the difference between East and West, we try to
make a dialectical study that has led to the production of works by
Yukio Mishima (1925 - 1970) and Robert Wilson(1941-). Focusing on
the old forms of drama in Japan, Mishima began writing modern plays
for Kabuki and Noh. Wilson also created a modern work in Einstein’s
play on the beach, using Japanese theatrical traditions. Both were trying
to deconstruct old species from museum use and achieve new shapes
from the heart of tradition. But there has long been a concern that the
ancient species, because of the relations they have within themselves,
should be done in the same structure, because leaving that structure
would be tantamount to leaving their body, and this was seen as an
emptying of previous traditions. So what to do with this tradition?
Hence, the question of this research is how to deal with tradition,
using the fusion of two traditionsattention to the text, and Wilson focused on the area of the body and
the verbal and physical fragmentation in a Noh play. Both maintained
the behavior and accompanied the modernization process wit h the
behavior. In their opinion, a new ritualization should be realized in the
modern field as well, and without the new ritual, the old ritualization
cannot be modernized and cannot be displayed.
