كليدواژه :
گيم تئاتر , تئاتر فراگير , مشاركت تماشاگر , متن اجرا , بينامتنيت
چكيده فارسي :
گيم-تئاتر يك پديده بينارسانه‌اي و نوظهور در هنرهاي اجرايي است، كه از پيوند فضاي ويدئوگيم‌ها و تئاتر پديد آمده است. مشاركت تماشاگران در گيم-تئاتر ركني ضروري و جدانشدني از آن است. بنابراين اگرچه پيشرفت اجرا و شكل‌گيري درام از الگوهاي معمول تئاتر ارتودوكس پيروي نمي‌كند اما هسته درام مي‌تواند با استفاده از مفهوم جايگشتي از متون در نظريه بينامتنيت از الگوي درام ارسطويي شكل گيرد. با بررسي عناصر و الگوي ساختاري درام ارسطويي، تحول و تبديل شاخصه‌هاي درام و ساختار متن اجرا در گيم-تئاتر مورد توجه قرار گرفته است. در گيم-تئاتر نمايشنامه به عنواني متني نوشتاري و معين، ماده اوليه اي است كه در تركيب با ضروريات پرفورماتيو تئاتر فراگير به توليد «متن اجرا» ي پويا و منعطف منجر مي‌شود. پيش‌بيني گزينه‌هايي براي انتخاب تماشاگران جهت پيشبرد كنش‌ها، شخصيت‌بخشي به مشاركت‌كنندگان و چگونگي ايجاد فضاي يك تئاتر فراگير گام‌هايي مهم در پروسه توليد «متن اجرا» است. درام ارسطويي متن آشناي تماشگر-اجراگر است كه فرصت كنشگري را فراهم مي‌كند. اين مقاله با بررسي تأثيرات و اهميت حضور تماشاگر در نقش يكي از كاراكترها و بدل شدن او به اجراگر در فضاي اجرا براي پيشبرد كنش‌هاي نمايشنامه، به چگونگي اثرگذاري امر مشاركت در متن اجراي گيم-تئاتر به عنوان تئاتري بينارسانه‌اي و فراگير مي‌پردازد.
چكيده لاتين :
Game-theater is a hybrid phenomenon which arises from the Intermediality of video game and theater. This inter-medial production carries the features and specifications of both performing events. The immersed atmosphere of this hybrid performative phenomena leads to a unique theatrical experience, actively engaging participants in the performance space. Although theatre audiences always participate in any theatre as a spectator, in Game-theatre, audience participation is not passive since it is inevitably necessary for the completion of the performance. The audience is not only the player of a video game but also acts as a character in the play. Therefore, the spectator is transforming to spect-actor. Other creative members of the group (including actors) should adjust and react according to this active participation. In this interactive theatre production, the spect-actor is free to choose actions, interact with actors and wander in the architectural space of the performance on the basis of a story telling event. Considering the nonlinear, live and interactive nature of this production, the script keeps an open structure in order for the variables that are brought into the performance by the audience participation. In other words, the participant’s choices, actions and gestus in combination with a narrative dramatic core give birth to a performance-text particularly designed for an immersive and interactive performance. This text transforms with each and every participant. The participant not only interacts with the performance on stage but also with the script. These features give an unpredictable characteristic to game-theatre, however the shaping the whole process is based on a dramatic core which is a way to unify all actions. Furthermore, it helps the performance to maintain its goal that is the final promised achievement similar to video games. This final achievement and predictable future is very similar to the determined destiny of a tragic character. During the performance, the spect-actor should challenge with side quests, a turning point and a resolution to carry on the predesignated mission. One should note that in the first encounters with a production, the spectator doesn’t have skills and knowledge equal with other prepared members of the performance group. Therefore, the simplicity and familiarity of the narrative and the initial introduction of characters are essential. Aristotelian drama can provide an appropriate narrative core to encourage role-playing and action. However, according to the dynamic and ever-changing nature of game-theater, the script is not anymore a solid base from which to perform, but it should be considered as a foundation material which undergoes a transformation. Hence, the concept of change in media according to the theory of intertextuality, can validate the inevitable dynamic transformation of Aristotelian plays into a performance text while performing game-theater. In this process, the encounter of spectator as a cultural text with an Aristotelian drama as the hypertext, produces a performative intertext. This intertext contains both verbal and performing elements and should remain open to audience participation. This study tries to explain how the process of interaction and co-execution affects the structure and dramatic elements of an Aristotelian drama as an appropriate dramatic core for game-theater.
