مطالعه‏ ي تطبيقي «الگو»هاي ارتباطي ميان متن و اجرا و تاثير آن بر چگونگي درك و دريافت تماشاگر

The comparative study of text-performance interactive models and its influence on viewers’ comprehension

چكيده در اين مقاله الگوهاي ارتباطي ميان متن و اجرا بررسي و با هم مقايسه مي شوند. پرسش هاي اصلي اين پژوهش اين است كه «چه اتفاقي مي افتد زماني كه اجرايي از يك متن مكتوب استفاده م يكند؟ » و «چه اتفاقي مي افتد زماني كه اجرايي از هيچگونه متني استفاده نم يكند؟ » پاسخ به اين پرسش ها را م يتوان در چهار الگويي گنجاند كه هر يك از دست اندركاران تياتر بر اساس ديدگاه خود به يكي از آن ها گرايش دارند. اين الگوها عبارتند از: الگوي ادبي؛ الگوي دو متني؛ الگوي انواع و الگوي موزاييكي. نتايج اين پژوهش نشان داد كه الگوي ادبي بواسطه ي وجود متن مكتوب و چاپ شده كه امكان مقايسه را فراهم م يكند از اعتبار و ثبات بيشتري برخوردار است. از آنجا كه در الگوي دو متني نوعي اقتباس انجام مي گيرد، اين الگو چالش برانگيز است و امكان تعبير و تفسير بيشتري فراهم مي شود. الگوي ادبي بيشتر در نظام ه اي دانشگاهي و نقد كاربرد دارد. شناخت انواع نيز به شناخت اجراها كمك مي كند. اين سه الگو كم و بيش با متن نمايشنامه ارتباط پيدا م يكنند، اما الگوي موزاييكي اعتقاد به استقلال هنر تياتر دارد و بيش از آن كه به زبان متكي باشد به عناصر تياتري متكي است.

Abstract In this article we will compare four text-performance relation models including the literally model, the twotext model, the type model and the musical model. We will also discuss viewers’ comprehension according to each model. These four models represents fundamental different ways to conceive what will happen when a performance makes use of a written text in performance and what happens when a performance makes use of no text. The answers can be found in these models. Based on their perspective, theatre practitioners prefer one of these models. Each model articulates five things: what aspect of the text is presented in the performance; what audiences would refer to when identifying a performance; what criterion or standard, if any, ensure such reference; whether the performance is considered a work of art by that model or not; and whether the written text is considered a work of art, and if so how. Here, we will give a brief description of each model: 1. The Literary model is based on this idea that theatrical performances are illustrations or interpretations of works of dramatic literature. 2. The two-text model is based on this idea that theatrical performances consist of “theatrical texts” to be read and are something like translations of their corresponding literary texts. 3. The type model is based on the ontology of theatrical (and musical) performances, holding that a performance is an instance of a kind (or “type”) that may have other (and other kinds of) instances, for example, a text or score. 4. The mosaic model is based on the idea that texts are used in performance in much the same way people use ingredients when they cook. In discussing each model, advocates and practical examples will be mentioned. Stanislavski and Jacques Copeau’s views for literally model; Gerald Rabkin, Arthur Miller and Tayroff`s views and also Grotowski, Blav an Performance Group’s works for two-text model; epic theatre, Commedia dell’arte and Erwin Piscator`s documentary theatre for literally model and Jean-Louis Barrault, Richard Forman and Robert Wilson for musical model will be studied. According to this study, literally model has more validity comparing to other models as comparison is possible due to written texts. Adaptation makes two-text model challengeable and capable of being interpreted. Literally model’s most common use has been in academia and criticism. Furthermore, knowing Type model helps to know the performances. These three models are more or less related to the performance text. Musical model believes in art independence. It’s relying more on theatrical details rather than language. To understand musical model-based performances, we need to study communicational ways between performers and viewers