پديد آورندگان :
گياه چي، نبي الله دانشگاه هنر، تهران، ايران , عادل، شهاب الدين دانشگاه هنر - دانشكده ي سينما - تئاتر ، تهران، ايران , بني اردالان، اسماعيل دانشگاه هنر - دانشكده ي فلسفه ي هنر، تهران، ايران
كليدواژه :
تئاتر , آزادي , جوهر تئاتر , ضرورت تئاتر , تراژدي
چكيده فارسي :
ا ين پژوهش درباره ي جوهره، ضرورت و اهميت هنر تياتر است و در جست وجوي مناسبات پرباري كه ميان تياتر اصيل و بافت زندگاني اجتماعي پويا و خالق وجوددارد، به آن ويژگي مهمي ميپردازد كه شايد در آغاز به شكلي فطري و ناخودآگاه، متاثر از نيازهاي انسان و جامعه، هستي يافته، اما آراي متفكران در طول هزاره ها، آن را كشف و آشكار و تقويت كرده است. نيرويي كه موجب ماندگاري تياتر در طول قرون و هزاره ها شده و عليرغم پيدايي ده ها دستآورد جديد و به ظاهر مشابه، كه ظهور هر كدام، پايان تياتر به نظر ميرسيد، موجب شده تا تياتر همچنان قدرتمندانه و موثر استمرار يابد. پرسش اصلي تحقيق اين است كه »تعاريف و مختصاتي كه در تشخيص تياتر ناب، ميتواند سره را از ناسره منفك كند، كدام است؟« همچنين به دنبال مطالعه در پي پاسخ به اين سوال مهم هستيم كه »چگونه در طول تاريخ، عليرغم آنكه تياتر از هر نوع قاعده مندي و چهارچوب محدودكننده ميگريزد، با انواعي از نمايش هايي كه خود را به عنوان تياتر وانمود كرده اند، مخالفت و از جوهر تياتر مراقبت شده است؟« تياتري كه در انطباق و سازگاري با هر آنچه نوپديد بوده يا حتي از پي خواهد آمد، اشكال و رنگهاي تازهاي مييابد، به شكلي كه هرگز به ثبات و تكرار تن در نداده و همواره با تحولگرايي مدام و بيپايان، در جست وجوي تحقق مفاهيم نوشون دهي عدالت و آزادي است.
چكيده لاتين :
article focuses on the importance of theatre by exhibiting the meaningful relations between the theatre as a pure form of art and a conscious and creative society. Although such relations may have been grown organically from the needs of the society at first, throughout history, they have been discovered, analyzed, and developed by various scholars and philosophers. In another historic view, one can realize how the appearance of several different yet relatively similar “commercialized art forms”—or one may call it entertainment models—seem to move theatre into a precarious situation within the society. After tracing the differences between various performance forms which are all perceived as “Theater” I will discuss the causes of such diversity and deviation. In the search for the roots of theatre, this article will define tragedy as a representative of the interplay between traditionalism and modernism while reflecting on how tragedy stands against essentialism and rejects the existing hierarchical system within the society through challenging its values. Inside our encounter with theatre, we as humans are positioned in a contrasting world that includes two sides, one is dead and the other one is unable to be born, and theater is the conflict between these two organic energies. It is the tension between creativity and regulations, liberty and barring liberty, dream, and prohibiting dream. Just like magic which is a revolt against the holy, theatre is a revolt against the dominant system, which works as a permanent revolution that constantly destroys and reconstitutes structures and forms. Moreover, it is similar to the people’s real issue with “musts” and regulations, which are against freedom. Fine arts make the world talk more directly to us. We observe the world in the way that arts teach us, and finally, nature will turn to art as the human turns to be the people that dramatists have in their minds. This is why awareness of such issues is not only crucial for the artists but also for anybody who seeks peace for the society, which can help to improve theatre in order for it to play its effective and expected role.
