عناصر پست دراماتیک در نمایشنامه های چرمشیر: کاربرد رویکرد له مان در همه چیز می گذرد تو نمی گذری و شاهزاده اندوه

پژوهش حاضر یک مطالعه کاربردی-توصیفی و تحلیلی است که با اتکا به چارچوب نظری تئاتر پست‌دراماتیک هانس تیس له‌مان، به بررسی و تحلیل جلوه‌های این رویکرد در دو نمایشنامه همه‌چیز می‌گذرد، تو نمی‌گذری و شاهزاده اندوه نوشته محمد چرمشیر می‌پردازد. هدف اصلی این پژوهش، ارائه یک رویکرد نوین برای خوانش و تحلیل نمایشنامه‌های نوگرا در ایران است. تئاتر پست‌دراماتیک، برخلاف بسیاری از نظریات متمرکز بر اجرا، امکان تحلیل متن را نیز فراهم می‌کند. له‌مان در کتاب خود، با معرفی ویژگی‌های سبک‌شناختی این تئاتر، اجراهایی را در این حوزه بررسی می‌کند که وجه اشتراک اصلی آن‌ها ضعیف‌شدن ارتباط میان تئاتر و درام است. این تحقیق، شیوه‌های بیانی تئاتر پست‌دراماتیک را که در نمایشنامه‌های مذکور به کار رفته‌اند، شناسایی و تحلیل می‌کند. نتایج نشان می‌دهند که در شاهزاده اندوه از شیوه «مونولوژی» استفاده شده است که در آن، روایت شخص‌محور به صورت بازتابی از کنش‌های نمایشی در ذهن راوی ارائه می‌شود. همچنین، در نمایشنامه همه‌چیز می‌گذرد، تو نمی‌گذری، شیوه غالب بیان، «کول-فان» است که با کنار هم قرار دادن ارجاعات، اشارات و شوخی‌های کوتاه و سریع به سینما و موسیقی پاپ، ویژگی‌های این نوع تئاتر را نمایان می‌سازد.

postdramatic elements in mohammad charmshir’s plays: applying lehmann’s framework to everything will go you won’t and prince of sorrow

in the last two decades, we can observe a new discourse in iranian plays which is hard to analyze within dramatic theatre frameworks. new aspects in these plays show a great tendency toward late dominant theatrical movements in western drama. in order to be able to analyze such plays and study those traits, a comprehensive theoretical framework and a research method are needed. post-dramatic theatre framework is a contemporary theory which examines the relationship between drama and the late theatrical forms which have emerged from the traditional dramatic forms since 1970. beside form variations, artistic exposition and linguistic diversities, one trait is common amongst all of post-dramatic theatres: loosened connection between theatre and drama. because “post-dramatic” theatre propounds its propositions in relation with “dramatic theater”, plays can be analyzed within this framework, as well. in his book, “post-dramatic theatre”, hans-thies lehmann has offered a complete theoretical framework in regards to western dramatic transition from the 1960s onwards, by analyzing significant avant-garde plays. after specifying stylistic traits of this theatre, he focuses on ways of its realizations. the characteristics and traits of this theatrical movement, have influenced the dramatic literature of recent decades in iran, sometimes so heavily that without considering modern theories, it is not possible to arrive at a correct analysis of the plays and provide a suitable research method for their readings. as an example, two of mohammad charmshir’s plays can be mentioned, prince of sorrow, which is a monodrama, and everything will go, you won’t, which is a retelling of shakespeare’s hamlet. considering the discourse of these plays with regards to post-dramatic theatre and tracing its manifestations, offers the possibility of a new reading. the intention and purpose of this research is the ability to analyze and discover post-dramatic manifestations in these iranian plays. initially, post-dramatic theory is introduced briefly, and then the traits and means of realization of this theatrical movement are discussed. the focus is on those traits which has occurred more frequently in iranian plays. by presenting examples from the case studies of this applied research, it has been shown that the post-dramatic stylistic traits can’t be recognized in prince of sorrow, but streaks of its manifestations are obvious in it by utilizing “monology”: retelling of a classical drama by the means of monologue, narrating it from the hero’s personal perspective and representing the reflection and effects of dramatic events on the narrator’s memory instead of showing or narrating them.again, by presenting instances from the case studies, it has been shown that everything will go, you won`t utilizes another post-dramatic manifestation technique; something which lehmann calls “cool-fun”. cool-fun, based on lehmann, is filled with fast, short and sudden moments of references to movies and pop cultures; a train of parodic allusions and jokes put together often in brief, momentarily events. moreover, it was shown that some important stylistic traits of post-dramatic theatre such as:  “dream images”, “play with density of signs”, “simultaneity” and “retreat of synthesis” can be recognized in this play.