از بداهه پردازي تا اجرا

From Improvisation to Performance

چكيده از بداه هپردازي، در هنرهاي اجرايي مانند تياتر و موسيقي و رقص به شيوه هاي گوناگوني استفاده مي شود. در تياتر، بداهه پردازي براي آموزش هنرجويان يا روي صحنه بردن نمايشنامه اي مكتوب و در سال هاي اخير نيز به عنوان عنصر برانگيزاننده خودجوشي و خلاقيت همزمان بازيگران و تماشاگران به كار مي رود. اما گروه هاي تياتر مي توانند از طريق بداهه پردازي به اجرا برسند. اين گروه ها با استفاده از بداهه پردازي و با داشتن تنها يك ايده و فضاي تمرين مي توانند به اجرايي ساختارمند دست يابند. براي اين هدف بازيگر بداهه بايد قابليت هاي فردي و گروهي اش را تقويت كند. اين قابليت ها در تمام حوزه هاي تياتر كه بداهه پردازي به گونه اي كاربرد دارد نيز كاملاً ضروري و حياتي اند. در واقع بداهه پرداز در تياتر شش مهارت كسب مي كند: اعتماد كردن، رهايي، پذيرفتن پيشنهاد، گوش سپردن و دقت نظر، داستان گويي و برقراري ارتباط غيركلامي. گروه هاي بداه هپرداز در تياتر م يتوانند با داشتن اين مهارت ها، اجراهايي خلاق و جذاب توليد كنند. بداهه پردازي به ويژه براي هنرمندان نوگرا شيوه اي كارآمد است. اين مقاله با تعريف بداهه پردازي به طور كلي، بداهه پردازي در حوزه تياتر را تعريف م يكند و به بررسيِ شش مهارتِ پيش گفته مي پردازد.

Abstract Different performance arts like theatre, music and dance can use improvisation in various ways. In theatre, improvisation can be used for training students, staging text plays and especially in recent years as an element to provoke creativity and spontaneity of actors and audience simultaneously. A theatre group can reach to performance thorough improvisation. Having just an idea and rehearsal place, the group can achieve a structured performance. So, each of the performers should reinforce his/her personal and collaborative capabilities. There are six skills that every improviser should acquire them: 1. Trust: Trust is the foundation for all of the creative and collaborative endeavors. Improvisers demand that they colleagues that they can trust and they have developed exercises (and tests) to build it. 2. Spontaneity: Although spontaneity is risky but it may act as the heart of creativity. Improvisers practice getting out of their own way so that they can recognize and utilize their innovative ideas. Socialization kills spontaneity. 3. Accepting the offers: Everyone offers and accepts. An ‘offer’ can be anything. Say ‘yes’ and accept offers. Each member of a team is responsible for both contributing to and supporting the group’s activity. 4. Listening and awareness: Before accepting an offer it must be recognized. Listening is more complex than it seems. By enhancing the listening and observation skills, teams and individuals can harvest significantly more ideas, increase their understanding of each other, and communicate more effectively. 5. Storytelling: Storytelling is a historic as well as current and profound learning too. Stories are the heart of theatre and the heart of communication too. Audiences are constantly looking for stories to help them understand the information being presented to them, and to keep them interested. 6. Non-verbal communication: non-verbal behavior often carries more weight than the verbal communication. Our subconscious is evident in our dreams; it reveals itself in our bodies. Applying these skills has a vital role in all kinds of theatres which are using improvisation. These skills can lead to creative and attractive performance. Especially for modernist artists, improvisation can be a qualified technique. In this article, the authors have studied the improvisation in general, as well as the theatrical form of it, and mentioned that it needs to 6 main skills. This study is completely practical and theoretical debates are relinquished. This article is useful for theatre groups, theatre students and even theatre teachers