واکاوی تاثیرات اندیشه‏ های آنتونن آرتو در شکل ‏گیری رقص بوتو

رقص بوتو در چارچوب و تعریف خاصی نمی‏گنجد و هنگام مواجهه با بوتو بیش از هر چیز با اجرایی تجربی روبه‌رو هستیم که درصدد است در هر اجرا، از مرزهای پیشین فراتر رفته و تعریف جدیدی از خود داشته باشد. از سوی دیگر، آنتونن آرتو که از تئاتر مبتنی بر متن و ادبیات، و بازیگری بر پایه اصول روان‌شناسی روی‏گردان بود، خواستار تئاتری بود که با بازگشت به اسطوره‏ها و سرچشمه‏ها در بطن و روح آدمی رخنه کند تا به واسطه‏ رهایی و خودانگیختگی به جهان ناشناخته ها و ضمیر ناخودآگاه انسان دسترسی یابد. با بررسی ویژگی‏های رقص بوتو و واکاوی انگیزه‏هایی که در پس خلق آن نهفته بود، می‏توان ردپای اندیشه‏های آنتونن آرتو را در شکل‏گیری این نوع رقص یافت. حرکات و ژست‏های خودانگیخته و غیربازنمودی در بوتو یادآور تاکید آرتو بر خودانگیختگی و تاثیر نیرومند بر مخاطب است. هم‌چنین، خلسه‏ای که در بوتو ایجاد می‏شود، یادآور شیفتگی آرتو به رقص بالی و سنت‏های تئاتری شرق است. زیبایی شناسی مورد نظر آرتو که در تئاتر قساوتش تبلور یافته، با زیباشناسی موجود در رقص بوتو همخوانی‏های بسیاری دارد. هدف از انجام پژوهش حاضر که به شیوه توصیفی- تحلیلی و با بهره‏گیری از منابع کتابخانه‏ای انجام شده، واکاوی ردپای اندیشه‏های آنتونن آرتو در شکل‏گیری رقص بوتو است. در واقع، این پژوهش بر آن است، تا به این پرسش پاسخ دهد که، چگونه می‏توان اندیشه‏ها و زیباشناسی آنتونن آرتو را در رقص بوتو یافت. یافته‏های این پژوهش حاکی از آن است که، هرچند هیجی‏کاتا، در مقام هنرمند، اندیشه‏ها و انگیزه‏های خاص خود را داشت، اما هم زمان می‏توان قرابت‏ بسیاری میان اندیشه‏های آرتو، به‌ویژه، آن‏هایی که در تئاتر قساوت مطرح نموده و اصول شکل‏دهنده به رقص بوتو و هم‌چنین، تاثیرات اندیشه‏های او را در شکل‏گیری رقص بوتو ردیابی کرد. به طور خاص، می‏توان گفت واقعیت و خشونت پنهانی که به واسطه کنش گری درد و رنجِ جدانشدنی با چنین کنشی را عیان می نماید، در اندیشه‏های آرتو و اصول زیربنایی بوتو مشترک هستند.

tracing antonin artaud’s ideas in the formation of butoh dance

butoh dance does not easily fit into a specific framework and structure, but when facing butoh, more than anything, we are dealing with an experimental show that constantly tries to transgress its previous boundaries and offer a new definition of itself in every performance. therefore, it can be said that butoh shatters all pre-determined conventions and redefines the boundaries of dance and performance. one of the distinctive features of butoh is the function of the body in it. unlike certain forms of dance particularly ballet in which the movements are delicate and graceful, in butoh the movements of dancers are not graceful, but the distorted bodies and bent legs and knees deliberately display a rather grotesque image in line with the motifs behind the creation of this form of performance. besides, in butoh, improvisation takes precedence over meticulously choreographed movements insofar as the improvised movements are in line with the theme of the performance. founded by tatsumi hijikata and developed by other post-war avant-garde japanese artists, butoh has been influenced by numerous artistic movements throughout the world including surrealism, dadaism, german expressionism, and others. however, it can be said that one of the most significant influences in the formation of this form of performance has been antonin artaud. artaud, known as a visionary artist, has left a rich legacy that influences almost all avant-garde artistic movements in theater and performance the world over. frustrated by the theater of his time, he called for a theater that was free from the dominance of text and literature. he believed that text was only one element of performance and should not dominate the whole performance. his configuration of what he had in mind is to be found in his “theater of cruelty”. artaud did not approve of the relationship between performers and the audience in the theater of his time since in his opinion the audience was the passive receiver of what was offered to him and did not engage in the performance. instead, he called for a performance where the audience was immersed in what was going on. certainly, this could not be achieved by using words to affect the intellectual faculty of the audience, and what he was trying to achieve was influencing the senses and the nervous system of the audience. through mise-en-scene, sound, light design, gestures, and the body of performers he was determined to engage the audience totally in the performance and ensure that he would leave the theater transformed by the experience. this could be realized by reconsidering all the elements of performance. pre-existing play texts that relied on literature did not seem appropriate anymore. texts were not supposed to be eliminated, but they were expected to carry the same weight as the other elements of performance. themes were also of the utmost importance in artaud’s theater of cruelty since he was not interested in social issues people were struggling with. he adopted universal themes that were timeless and placeless such as creation, chaos, love, death, and so on. such themes made the performances magnificent and appealed to all human beings.