بررسي نمايشنامه )جشن تولد( هارولد پينتر از منظر روانكاوي ژاك لكان

Study of Harold Pinter’s playwright (Birthday Party) by Psychoanalysis of Jacques Lacan

چكيده مقاله پيش رو با رويكردي روانكاوانه از منظر ژاك لكان- روانكاوِ نوفرويدي، با نگاهي اجمالي به برخي از آثار هارولد پينتر- نمايشنام هنويس انگليسي، اولين نمايشنامه بلند او، جشن تولد ) 1958 ( را كه متعلق به دهه هاي اوليه نگارش آثار نمايشي او است، نقد و بررسي مي كند. با توجه به اينكه امروزه نگرش روانكاوي مدرن لكان در بسياري از رشته هاي مطالعات ادبي و سينمايي نفوذ كرده است، تلاش بر آن است كه از نظريه هاي او در تحليل آثار نمايشي نيز بهره گرفته شود. ا زطرفي، بنيان فكري او كه بر پايه نظريه هاي هايدگر، لوي استراوس و هگل بنا شده و در ارتباط با نظريه هاي فرويد بيان شده است، اشتراكاتي با فلسفه اگزيستانسياليسم دارد كه شكل دهنده جهان بيني پيروان تياتر ابسورد، از جمله كساني چون پينتر است. ابتدا براي رسيدن به هدف مقاله، چارچوب روانكاوانه لكان كه دربردارنده مفاهيمي چون امر خيالي، امر نمادين، امر واقع، دال تهي، ابژه ي a و تفاوت جنسي است، توضيح داده مي شود و سپس با كمك اين مفاهيم، «جشن تولد » تحليل و نقد مي شود كه دستيابي به لايه هاي پيچيده و مباحث ضمني دنياي انتزاعي آن ميسر شود

Abstract This article adopts a psychoanalytical approach based on Jacques Lacan’s theories, Neo-Freudian psychoanalyst, to have a brief look at some of the plays written by Harold Pinter, the English playwright, and to study and analyze his first long play “The Birthday Party” (1958), which belongs to the early decades of his dramatic writing. These days Lacan’s theories are widely applied in different fields of literary and cinema studies. This article aims to utilize his theories in analyzing dramatic literature and plays. In addition the intellectual foundation of Lacan theories are based on Heidegger, Levi-Strauss and Hegel’s theories ,which is in connection with Freud’s theories is explained and have subscription with foundations of the philosophy of Existentialism, is essential to gain an understanding of the foundations of “The Theatre of the Absurd “and Pinter’s works. Within this framework, some concepts including “The Imaginary, The Symbolic, The Real, The Empty signifier, Object a and Sexual differences “are elaborated on and then, “The Birthday Party” is analyzed based on these concepts to make possible achievement the Layers of complex and abstract world of this play. Pinter in “The Birthday Party” creates an atmosphere of threat and fear. He puts his characters in enclosed spaces such as home to emphasize on instability and human failures. Being driven from their world and located in another world where the meaning of everything has changed, these characters incur a painful fate. Their names and their identities have been taken and they have been thrown to a world in which the boundary between reality and non-reality is blurred. In fact, characters in this play use fantasy against external threats and fear. In modern world emphasis is placed on incomplete human that can never achieve the real truth. Lacan’s views regarding the incomplete human together with Existentialism in philosophy can be helpful to analyze Pinter’s plays. For this reason, Lacan insists that without modern science psychoanalysis could not come into existence and psychoanalytic concepts and theoretical framework are appropriate to modern times and modern Ego. In Pinter’s opinion the truth in drama is always elusive. You never quite find it but the search for it is compulsive. The search is clearly what drives the endeavor. More often than not you stumble upon the truth in the dark, colliding with it or just glimpsing an image or a shape which seems to correspond to the truth, often without realizing that you have done so. But the real truth is that there never is any such thing as one truth to be found in dramatic art. As Pinter says in his play “The Birthday Party“ he thinks he allows a whole range of options to operate in a dense forest of possibility before finally focusing on an act of subjugation that is Emphasis on the claim. Finally all these are reflected in “The Birthday Party”, which is analyzed in this article.