تولید استعاره های تصویری و مفهومی براساس میزانسن های نمایش با تمرکز بر نمایشنامه هشتمین سفر سندباد نوشته بهرام بیضایی

در طول تاریخ هنر، مطالعه درباره ی استعاره یکی از بحث های مهم رشته های گوناگون هنری بوده است. از جمله رویکردهای جدید به استعاره، نظریه «استعاره های مفهومی» جورج لیکاف و مارک جانسون است که منشا بسیاری از استعاره ها را جسم انسان و جنبه های مادی آن می داند. امروزه در هنر تئاتر میزانسن نه تنها چیدمان و حرکت بازیگران روی صحنه، که شامل همراهی عناصر میزانسن مانند ترکیب بندی، تصویرسازی و حرکت با تمام عوامل اجرایی مانند دکور و لباس و موسیقی و نورپردازی است. از آنجا که در تئاتر جنبه های تصویری نمود فراوان دارند، مقاله ی حاضر می کوشد تا نشان دهد که استعاره های تصویری روی صحنه، چگونه به وسیله ی میزانسن و ترکیب صحنه تولید می شوند. رویکرد تحلیلیِ پژوهش حاضر به میزانسن و رابطه ی آن با استعاره های تصویری، براساس نظریه استعاره های مفهومی بنا شده است. به منظورِ بررسی مسئله ی مطرح شده، این رویکرد روی نمایشنامه ی هشتمین سفر سندباد اثر بهرام بیضایی اجرا شده تا درستی آن آزموده شود. براساس نتایج این پژوهش، می توان استعاره های تصویری را با استفاده از میزانسن و عناصر آن، و نیز عوامل دیداری و شنیداری نمایش مانند دکور و لباس و نورپردازی، روی صحنه خلق کرد و استعاره های درون متن نمایشی را به شکل استعاره های مفهومی و تصویری در اجرا به نمایش گذاشت.

Production of Pictorial and Conceptual metaphors according to the theatrical mise en scene/ A case study of the Eighth Journey of Sindbad written by Bahrām Beyzai

Throughout the history of art, the study of metaphors has been among the most important discussions within various art forms, especially in literature. In the modern era, the analysis and application of metaphor is expanded over a wider spectrum of disciplines, including cognitive sciences, philosophy, and performing arts. There is a classic view in regards to metaphor, maintaining that the term is just a linguistic phenomenon and not a conceptual one. On the other hand, a new approach to the concept of metaphor, is the theory of “conceptual metaphors” proposed by George Lakoff and Mark Johnson. This second view, known as the cognitive view, recognizes the human body and the concepts regarding physical, tangible aspects of life as the origin of many metaphors. As we read in the introduction to their theory, Lakoff and Johnson believe in three main findings based on the cognitive science. The findings are as follows: the mind is innately embodied; thought is generally unconscious; and  abstract concepts are primarily metaphorical. In theatrical directing, “miseenscene” is one of the major elements of the play which contributes significantly to the creation of visual aesthetics on stage. Nowadays, miseenscene not only affects the positions of the actors and their motions, but also includes other major elements such as composition, picturization, and motion with all the other elements of performance such as decor, costumes, music, and lighting. The question presented in this study is how visual metaphors on stage are created through miseenscene. Since visual and physical forms are of great significance in theater, the approach employed by the present study towards miseenscene and its relationship with visual metaphors is based on the theory of conceptual metaphors. In order to analyze this proposition, this approach is applied to Bahram Beyzai’s play, Eighth Journey of Sindbad.  This work includes various metaphors in its text and performance thus serving as a good example for the use of metaphors and their significance in this study. In order to answer the presented question which regards the process of creating pictorial metaphors and metaphors that are indicated in the original text through miseenscene, first the generalized metaphors and specifically the main conceptual metaphors in Eighth Journey of Sindbad are marked: “life is a journey”, “time passing is motion”, “argument is war” and “orientational and spatialization metaphors”. Various scenes of the text representing these metaphors are shown and their miseenscenes are analyzed in a way that describes the process of shaping the intended metaphor as a visual metaphor based on the concept of the very scene through miseenscene. The aspects of metaphor in composition and picturization, motion and action are particularly analyzed. In addition to that, the role of audiovisual elements for devising metaphorical miseenscenes are examined—such as decor and scenic design and accessories, makeup and costume design, lighting, music and sound design. According to the results of this study, the visual metaphors are capable of being created through miseenscene, stage composition, and audiovisual elements of the play on the stage.