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سکوت یا اجتناب اجرایی دریدا؛ تاملی انتقادی بر فاصله نظری تیاتر آرتو و بِکت
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نویسنده
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یوسفیان کناری جعفر محمد
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منبع
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نامه هنرهاي نمايشي و موسيقي - 1391 - دوره : 2 - شماره : 4 - صفحه:37 -53
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چکیده
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Abstractthis paper aims to deal with some of the most important ideas of jacques derrida on theatre in terms of the existingphilosophical gap between antonin artaud and samuel beckett. assessing derrida’s notions on theatrestudies lead to find an exact reasonable solution for this main question that how his critical views on aestheticsof modern theatre might been employed today as recognized approaches to face with dramatic artworks; andthe mentioned issue is actually in priority of this research. the leading approach of this paper is based uponpost-structuralism and it covers a range of interdisciplinary records concerned with philosophy and theatre.the fundamental style of collecting and processing the linguistic signs as well as the philosophical facts,follow a descriptive-analytical method that is common in qualitative researches. referring on many reliablelibrary facts and assessing several linguistic data which are extracted from derrida’s original contributionsand his translated texts in english, this study attempts to lead any possible reader to a new reception of hiskey technical term, deconstruction, and its all engaged and related meanings in theatre. it is pre-supposed thatderrida’s perspective on “theatre of cruelty and the enclosure of representation”, in a general sense, couldnot be simply conceived as his theatrical standpoint but rather, it is a philosophical chance for him to avoidhis own real positions on the nature of performance. beckett, furthermore, has a secret absence in his contributionson modern theatre and literature. meanwhile, his perspectives on literature and philosophy whichare often associated with a branch of poststructuralist studies would act as the starting point of propoundinga theoretical challenge for the present study. artaud and beckett as two prominent theatre practitioners ofmodern era are in their own selves typical of a paradox in terms of their performative attitudes and techniques.deconstruction, as a new philosophical approach to literary texts and signs, could be applied for theatre studies.re-exploring the matter that whether derrida and his philosophical teachings are naturally applicablein contemporary challenges of theatre and doing a critical reflection on measuring the interpretability ofdramatic artworks based on his view points, are among the main purposes of the study. on the other hand, itintends to present reliable judgments on derrida’s terminology and the manner which they are broadly usedin iranian academic papers and discourses. the limits of its verifiability, accessibility as well as the accuracyof his critical point of views on theatre would be examined. in conclusion, some new propositions on deconstructionthere will be propounded which emphasize on the importance of iranian scholars to reconsider theirconventional views on derrida and his late neologism.
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کلیدواژه
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فلسفه و تیاتر ,ژاک دریدا ,دکنستراکسیون ,آنتونن آرتو ,سامویل بکت ,نقد و نظریه
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آدرس
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دانشگاه تربیت مدرس, استادیار گروه ادبیات نمایشی، دانشگاه تربیت مدرس، استان تهران، شهر تهران, ایران
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پست الکترونیکی
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yousefian@modares.ac.ir
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Authors
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