فرایند تکرار در آثار نمایشی ساروت، پویایی زبان کلامی یا ایستایی آن؟

ناتالی ساروت، از پیشگامان رمان نو در فرانسه است. وجه تمایز اصلی وی با دیگر نویسندگان، در نگاه تازه‌ای است که به مبحث زبان و مشکلات آن دارد. تکرار را می‌توان نمونه‌ای از بروز جریاناتِ تروپیسمی ساروتی در زبان بیرونی دانست. تروپیسم، در حقیقت همان واکنش یا تحریکات ایجاد شده در اثر حضور دیگری است. این حضور، دنیای درونِ شخصیت‌های ساروت را دچار دگرگونی کرده و تاثیر آن در رفتار و گفتارشان نمود می‌یابد. به بیان دیگر، خود را در حضور دیگری یافتن، به معنایِ درکِ لزومِ ارتباط و خودابرازی (سخن گفتن و برقراری ارتباط) است. این در حالی است که در دنیای ساروت خودابرازی مساوی با محدود کردنِ  معنا و احساس است. به محض سخن گفتن، زبان قراردادی یا بیرونی شکل می‌گیرد، اما زبانِ نامحدود درونی که مکانِ احساسات ناب و غیرقابل بیان‌ها است، خدشه دار می‌شود. چرا که نمی‌تواند کامل و بی‌نقص به مرحله تولید زبان برسد. از این رو، زبان نزد ساروت بیش از آنکه انتقال دهنده معنا باشد، بازتاب‌کننده و برانگیزنده احساس است. هر چند، مشاهده و تفکیکِ قطعی زبانِ برانگیخته شده و ملتهب از احساس امری غیرممکن است، اما نشانه‌هایی از این ناآرامی در قالب‌های کلامی قابل رویت و قابل ارزیابی چون تکرار تجلی می‌یابد. مطالعه این فرایندِ زبانی، از این رو اهمیت دارد که در متن ساروتی بارها استفاده شده و بخش مهمی از نقشِ تشدیدِ ارتباط کلامی (ارتباطی که در قالب گفتار شکل می‌گیرد) را بر عهده دارد. در آثار داستانی ساروت، زبان متزلزلِ راوی از مهم‌ترین ابزارها و مکان‌های جلوه تروپیسم به شمار می‌آید. این در حالی است که در آثار نمایشی، روایتِ حذف‌شده با دیداسکالی‌های کوتاه و گزیده جایگزین شده‌است. این مساله بر اهمیت و قدرت گفتار شخصیت‌ها یا مکالمه می‌افزاید. این مقاله، در تلاش است با نگرشی جدید به بررسی اجمالیِ مساله زبان در آثار نمایشیِ این نویسنده «سرهیچ و پوچ، او آن‌جاست، زیباست، ایسما، دروغ، سکوت» بپردازد. همچنین پژوهش حاضر بر آن است نقش تکرار به ‌عنوان فرایندی کلامی در پویایی یا ایستاییِ متن و چگونگی تجلیِ تروپیسم ساروتی یا احساس در کلام را تبیین کند.

The repetition process in Sarraute’s dramatic works, the verbal language’s dynamics or its stagnation?

Repetition can be considered as one of the expressions of Nathalie Sarraute’s tropism in the external language. The language of Sarraute reflects the sensation more than the meaning. Even if the perception, understanding, and certain explanation of this language excited by the sensation seem to be impossible, the marks of this shaking are manifested in verbal forms such as repetition. The study of repetition is important because it is used extensively in Sarraute’s text and plays a crucial role in increasing verbal communication. In the novels of Nathalie Sarraute, the narrator’s agitated language is a good place for the appearance of tropism, while in dramatic works, the erased narration is replaced by the short and few blocking and this is how the importance of speech increases. The role of repetition in dynamism of the text and its relation to tropism are the elements that will be emphasized in this research. Figures of insistence or repetition such as anaphora, redundancy, polysyndeton or simple repetition make the narrative progress temporary, while they make the sentences syntactically entangled. Translating monotonously and uniformly, they have the ability to convey the effect of interest and indignation at the same time to the reader. Consistent with the sensation but opposed to the reason, they bring to the text the mark of tropism. Alongside the figures of interruptions and omissions that attenuate the progress of speech, the emphasis figures prolong verbal communication through repetitions and the process of word reproduction. All these figures, widely used in Sarraute’s works, represent in fact the anomalies or the verbal disorders coming from the resistance of the interior language to the exteriorization. Françoise Calin studied reiterations in Nathalie Sarraute’s novels, especially from the narrative points of view. He gave some examples in which a single conversation is sometimes repeated by different speakers that resulted in the stagnation of the story. We take this expression of Calin to show the effect of repetition in the dramatic texts of Sarraute. The figures of repetition, redundancy and polysyndeton are one of the main anomalies causing the entanglement of structures of the text and its stagnation. But in this stagnation, there is a kind of dynamism and it is considered as one of the solutions of the momentary recording of tropism. According to Sarah Anthony’s explication in Between the Spoken and the Unspoken: a Sarrautian Dialectic, Sarraute uses repetitions to dilate the tropism. Anthony summarizing parts of the book The said and the unsaid in Nathalie Sarraute’s The Use of Speech written in 2006 by Sarah Charieyras, expresses the difficulties of grasping and understanding the tropisms. She explains the problem of the inexpressible and the brevity of the tropismic movements in her work. According to her, Sarraute dilates the text to expose the minutiae of tropisms to the readers. Repetition is then a linguistic instrument not to restrain, but at least to slow down the distracted flight of tropism in order to exhibit these implicit movements of the inner language by the explicit structures of verbal language. In this article, we will examine these verbal excitements caused by repetitions, and whether they advance Sarraute’s text or reduce his advancement. The considerable use of repetition is not an arbitrary choice. The author uses it to distort the structures of speech and to give them a deregulated and rebellious figure. The speech carriers (characters) of Sarraute’s language do not seem normal to reveal the power of a troubled language that is full of expression, which forces the man to manifest and express himself. Since the universe of expressible and perceptible facts is smaller than that of the inexpressible and imperceptible facts, inevitably the externalized language carries traces of irrationality. Sarraute’s language is in the general sense of the term the executioner and the victim at the same time. Obliged to externalize himself to begin to exist, he loses his originality at the expense of existing verbally, but it is a perpetually destructive birth that pushes the utterance to die out and throws a challenge to his carrier. Repetition seems more specific when it becomes a solution and a language practice among the characters to maintain contact as much as possible. However, they resign themselves inevitably to repetition figures in order not to lose the least communicational chances. It is an uncomfortable and painful choice for the sarrautian porters who, in the philosophical sense of the word, already consider to speak as a copy of copy. Repetitive words most often play the role of triggers for tropism. They seem to be the free choices of speech carriers who, in an instant, delay the ordinary progress of the text.