گونه شناسی نمایش نامۀ «سلطان مار» بر اساس نظریۀ میتوس «فرای»

بهرام بیضایی از نویسندگان، پژوهشگران و هنرمندان شاخص ایران است که در عرصۀ نمایش، آثار ارزشمند، ماندگار و شایستۀ نقد و تحلیل خلق کرده است. گونه‌‌شناسی آثار نمایشی او اگرچه به صورت پراکنده و در لابه‌لای نوشته‌هایی چند مورد توجه قرار گرفته، اما کمتر به صورت علمی و روش‌مند به دسته‌بندی و تحلیل گونه‌شناسانۀ آن‌ها پرداخته‌اند. از میان نظریات گونه‌شناسی، نورثروپ فرای دیدگاه درخور توجهی دارد و طبقه‌بندی کاربردی‌ای از گونه‌شناسی ارائه می‌دهد. او هر یک از گونه‌های کمدی، رمانس، تراژدی و آیرونی/ طنز را با یکی از میتوس‌های بهار، تابستان، پاییز و زمستان تطبیق می‌دهد و برای هر میتوس، شش نوع یا مرحله قائل است که به تقسیم‌بندی دقیق درون‌گونه‌ای منجر می‌شود. با توجه به دیدگاه فرای، باید در نظر داشت که اثر مهم بهرام بیضایی با عنوان «سلطان مار» قابل ارزیابی و نقد گونه‌شناسانه است. در پژوهش پیش‌رو، کوشیده‌ایم ضمن بهره‌گیری از روش تحلیل کیفی، با تکیه بر مطالعات کتابخانه‌ای و اسنادی، و کاربست نظریۀ «میتوس» نورثروپ فرای، تحلیل گونه‌شناسانه‌ای از نمایش‌نامه‌ی فوق ارائه کنیم. دستاوردهای پژوهش گویای این است که نمایش‌نامۀ سلطان مار از منظر گونه‌شناسی فرای، ذیل گونۀ کمدی نوع چهارم قرار میگیرد، که این امر به نوبۀ خود، می‌تواند زمینه‌ای برای آشنایی با بخشی از بن‌مایه‌های آثار بیضایی باشد.

“Typology of Drama “King Snake” based on Theory of Mythos “Frye’

Bahram Beyzaee is one of the Iranian writers, researchers and artists who has created valuable and worthy works of critique and analysis in theater. Although the typology of his dramatic works has been considered in the context of several writings, they have been less scientifically and methodologically categorized and typologically analyzed. Of the typological views, Northrop Frye has a prominent viewpoint and offers a functional classification of typology. He adapts each type of comedy, romance, tragedy, and irony / humor to one of the Mythos of spring, summer, autumn and winter, and for each of the mythos, he has six types or stages that lead to an accurate intraspecific diversity division. According to Fry’s viewpoint, it should be noted that the important work of Bahram Beyzaee,The King Snake, can be evaluated and typologically criticized. In the research, we tried to use a qualitative analysis method based on library and documentary studies, and the use of Mythos theory of Northrop Frye, to present a typological analysis of the play. The research’s achievements suggest that The King Snake in Fry’s typology is belong to the fourth type comedy, which can provide a basis for familiarizing with a part of the material Beyzaee works. The king, the minister, the sheriff, the ambassadors of Jablasa and Jablaqa in this play, including the characters of Alazon, king snake, Lady Negar and the demons / trees / and the four complainant farmers are Erone characters, and Black is Clown Which is another comedy character. At the beginning of the play, the comic society has overthrown the order and the Utopian tries to create the order of the past. According to Frye Mythos, the comedy community, which is presented typically a small part of it, is such that the heroic society overthrows the old society and wins. This heroic community has once again brought the golden age society back to the audience; that is, we had a society that was stable and orderly destabilized by the precarious society, and the heroes are trying to regenerate it. Of course, comedy The king Snake, like other comedies, only shows part of this complete round that is related to fourth Comedy Mythos. As a result, The king Snake in the ranking of Mythos, it is related to the fourth type of comedy Mythos. In this context, moving from the experience world to the ideal world of innocence and romance begins. Romantic comedies that can be seen in the Shakespearean romance comedy are usually related to the medieval tradition of seasonal ritual games. They can be called the Green World; whose design is akin to the triumph of life and love over a barren land. In the The king snake, we also see the symbol of the green world in showing the ideal society. Ultimately, the love of the king snake and the lady Negar wins the world of barren land; that is, the play depicts the ideal society from the beginning and brings the society to our attention by describing the garden where the demons (ordinary people) are present.