تاثیر مشارکت تماشاگر بر شکل گیری متن اجرا در گیم تئاتر

گیم-تئاتر یک پدیده بینارسانه‌ای و نوظهور در هنرهای اجرایی است، که از پیوند فضای ویدئوگیم‌ها و تئاتر پدید آمده است. مشارکت تماشاگران در گیم-تئاتر  رکنی ضروری و جدانشدنی از آن است. بنابراین اگرچه پیشرفت اجرا و شکل‌گیری درام از الگوهای معمول تئاتر ارتودوکس پیروی نمی‌کند اما هسته درام می‌تواند با استفاده از مفهوم جایگشتی از متون در نظریه بینامتنیت از الگوی درام ارسطویی شکل گیرد. با بررسی عناصر و الگوی ساختاری درام ارسطویی، تحول و تبدیل شاخصه‌های درام و ساختار متن اجرا در گیم-تئاتر مورد توجه قرار گرفته است. در گیم-تئاتر نمایشنامه به عنوانی متنی نوشتاری و معین، ماده اولیه ای است که در ترکیب با ضروریات پرفورماتیو تئاتر فراگیر  به تولید «متن اجرا» ی پویا و منعطف منجر می‌شود. پیش‌بینی گزینه‌هایی برای انتخاب تماشاگران جهت پیش‌برد کنش‌ها، شخصیت‌بخشی به مشارکت‌کنندگان و چگونگی ایجاد فضای یک تئاتر فراگیر گام‌هایی مهم در پروسه تولید «متن اجرا» است. درام ارسطویی متن آشنای تماشگراجراگر است که فرصت کنشگری را فراهم می‌کند. این مقاله با بررسی تاثیرات و اهمیت حضور تماشاگر در نقش یکی از کاراکترها و بدل شدن او به اجراگر در فضای اجرا برای پیشبرد کنش‌های نمایشنامه، به چگونگی اثرگذاری امر مشارکت در متن اجرای گیم-تئاتر به عنوان تئاتری بینارسانه‌ای و فراگیر می‌پردازد.

The effect of Audience Participation on performance text in Game-Theatre

Gametheater is a hybrid phenomenon which arises from the Intermediality of video game and theater. This intermedial production carries the features and specifications of both performing events. The immersed atmosphere of this hybrid performative phenomena leads to a unique theatrical experience, actively engaging participants in the performance space. Although theatre audiences always participate in any theatre as a spectator, in Gametheatre, audience participation is not passive since it is inevitably necessary for the completion of the performance. The audience is not only the player of a video game but also acts as a character in the play. Therefore, the spectator is transforming to spectactor. Other creative members of the group (including actors) should adjust and react according to this active participation. In this interactive theatre production, the spectactor is free to choose actions, interact with actors and wander in the architectural space of the performance on the basis of a story telling event. Considering the nonlinear, live and interactive nature of this production, the script keeps an open structure in order for the variables that are brought into the performance by the audience participation. In other words, the participant’s choices, actions and gestus in combination with a narrative dramatic core give birth to a performancetext particularly designed for an immersive and interactive performance. This text transforms with each and every participant. The participant not only interacts with the performance on stage but also with the script. These features give an unpredictable characteristic to gametheatre, however the shaping the whole process is based on a dramatic core which is a way to unify all actions. Furthermore, it helps the performance to maintain its goal that is the final promised achievement similar to video games. This final achievement and predictable future is very similar to the determined destiny of a tragic character. During the performance, the spectactor should challenge with side quests, a turning point and a resolution to carry on the predesignated mission. One should note that in the first encounters with a production, the spectator doesn’t have skills and knowledge equal with other prepared members of the performance group. Therefore, the simplicity and familiarity of the narrative and the initial introduction of characters are essential. Aristotelian drama can provide an appropriate narrative core to encourage roleplaying and action. However, according to the dynamic and everchanging nature of gametheater, the script is not anymore a solid base from which to perform, but it should be considered as a foundation material which undergoes a transformation. Hence, the concept of change in media according to the theory of intertextuality, can validate the inevitable dynamic transformation of Aristotelian plays into a performance text while performing gametheater. In this process, the encounter of spectator as a cultural text with an Aristotelian drama as the hypertext, produces a performative intertext. This intertext contains both verbal and performing elements and should remain open to audience participation. This study tries to explain how the process of interaction and coexecution affects the structure and dramatic elements of an Aristotelian drama as an appropriate dramatic core for gametheater.