بازي و اهميت آن در نمايش

Play and Its Importance in Theatre

برخلاف اوايل قرن بيستم كه غالب نظريات، ريشه هاي نمايش را تنها در آيين هاي اوليه مي جستند و برپايه همين استدلال سعي در تحليل متون و اتفاقات صحنه اي داشتند، امروزه پديده نمايش در توازي با ديگر ژانرهاي اجرايي- از جمله بازي- و براساس ارتباطشان با هم مورد بازنگري قرار مي گيرد و نظريات مبتني بر خاستگاه براي آن، كمابيش اعتبار اوليه خود را از دست داده اند. آزمودن نمايش و متون نمايشي در سايه بازي، به عنوان يكي از ژانرهاي موازي با نمايش، نيازمند شناخت كامل اين پديده و تسلط بر اشكال، حالات و مفاهيم و معاني مرتبط با آنها است. اين شناخت نه تنها مي تواند ياري رسان فهم بيشتر متون و اتفاق هاي صحنه اي كلاسيك باشد، بلكه از رهيافت آن مي شود به فرم هاي جديد و پيچيده تري- مثل بازي مبهم- رسيد كه راهگشاي شناخت، تبيين و تدوين متون و اتفاقات تياتري نو خواهند بود. اين مقاله نيز بر آن است تا با مقدمه اي درباب رابطه بازي و نمايش، وارد بحث اختصاصي بازي شده و سپس با بررسي نظريات يوهان هوي زينگا روي نمايشنامه بازرس آنتوني شفر،با تمركز بر شكل خاص بازي مبهم، اين نظريات را در هنگام اجرا شناسايي كند، ابعاد جديدي از اين نظريات كشف كرده ونيز پيشنهاداتي براي تحليل و تدوين متون پيش رو قراردهد.

Unlike the early years of 20thcentury, in which, most theoreticians sought the roots of theatre in rituals, and based on this notion analyzed stage texts and events, contemporary theoreticiansoverview this phenomenon in relation with other performance genres such as play and their interactions.Accordingly, based-on-origin theories have lost their primary reputation, and so theatre is no more considered as an evolved performing form but just as a manner of expressing, parallel with other performance genres. On the other hand, a thorough cognition of play, its structure, the way that it is performed and its moodsare functional prerequisites for examining theatre and theatrical text in relation with this phenomenon. Regarding two facts that the concept of play can be traced from pre-Socratic philosophers to contemporary postmodern thinkers and different anthropological and sociological studies have brought forward a vast range of possibilities for understanding the world of play, the onto-phenomenological approach seems to be the most appropriate one in dealing with play world. This approach strongly depends on both conceptual and structural achievements, which not only are of great help in interpretation of conventional stage texts and events, but also provide more innovative and complicated forms such as dark play,which can be beneficial in new theatrical recognition, expression and creation. Johan Huizinga’s HumoLudens- The Study of Play-element in Culture, has been a key source in play studies during last seventy years, and therefore we base our study on his notions. But, despite his genuine idea and significant approach, Huizinga seems to fail to present a thorough comprehension of play which can fully satisfy our demands in order to examine play and performance in relation with each other. In other words, the essential playfulness of play may be considered as the main obstacle to handing in such precise understanding. However, Huizinga’s insistence on culture’s birth in play still has its own supporters, but many outstanding reviewers have pointed to some paradoxical parts of his work and therefor depicted some concealed dimensions of play, many of them depending on the way the play is performed.We also are going to, next to reviewing a laconic introduction on the relation between play and theatre, shift our way to exploration of the concepts and structures of play by which we meanexamining the notions of Huizinga and its limitations.By borrowing Huizinga’s ideas, we would find appropriate materials in order to confidently develop our exploration toward the very complicated structures, concepts, manifestations and moods of play. Anthony Scheffer’s play, Sleuth, as a typical case of manipulating plays and games in order to create theatrical text, will carefully go under study and by this we carefully take a step forward to have a comprehensive construction of play during its performance. Actually, play manifestation through performance reveals sophisticated notions of play such as frame, meta-communication and the message, complicated forms like dark play and deep play and amusing moods like flow.