دانشگاه تهران نشریه هنرهای زیبا: هنرهای نمایشی و موسیقی 2228-6012 21 1 2016 03 20 Historiographical Meta Fiction in Bahram Beizaie “Trilateral Reading of Azhdehak” فراداستان تاریخ‌نگارانه در نمایشنامۀ اژدهاک از سه‌برخوانی اثر بهرام بیضایی 25 33 57671 10.22059/jfadram.2016.57671 FA علی رجب‌زاده طهماسبی استادیار دانشکدة تولید رادیو و تلویزیون، دانشگاه صدا‌و‌سیما، تهران، ایران اسدالله غلامعلی دانشجوی دکتری پژوهش هنر، دانشکدة هنر و معماری، دانشگاه تربیت ‌مدرس، تهران، ایران علی اصغر فهیمی فر دانشیار دانشکدة هنر و معماری، دانشگاه تربیت ‌مدرس، تهران، ایران Journal Article 2014 06 21 During the 20^th century, literature and criticism enhanced and developed as well as scientific innovations. The upsurge of current literary theories has become significant phenomenon in contemporary literature, emerging as formidable force in interdisciplinary subjects. Literary theory is the body of ideas and methods we used in practical reading of literature. By literary theory it is not common to refer to the meaning of a literary work, but instead we refer to the theories which reveal what literature can mean. Historiographical Meta fiction is an important and interpretable issue in postmodernism. It is the result of transition from Classical Literature, Realism and Modernism. Meta fiction is a modernistic text that breaks down differences between fiction and non-fiction to create a new genre suitable with postmodern world views. Historiographical meta fiction is a kind of postmodern novel which rejects projecting present beliefs and standards into the past and asserts the specificity and particularity of the individual past event. Historiographical Meta fiction is quintessentially a post-modern art form, with reliance on textual play, parody and historical re-conceptualization. Postmodernism is a revolutionary movement and philosophically charming and intuitive activity which practically started in the middle of the 20th century, but rooted in human history. It cannot be simply ignored since it has massive effect on the contemporary mankind and has a special position in the world. It is a complex of tradition and modernism on one hand, and present and future on the other. Defining the inherent essence of postmodernism is not only difficult, but also ambiguous in assessing its historical origin. Many of theoreticians consider postmodernism as the continuation of modernism, and stating that modernism is an unfinished and endless flow. postmodernism avoid taking any definition or pattern, which results in no distinct framework. On the other hand, drama is a universal phenomenon and a great medium that has been changed during times. Some critics state that postmodern art is a reaction against reductionism and abstraction of modernism. They believe modern art desired to unearth universal or fundamentals of art, while post-modernism looks to unseat them, to embrace diversity and contradiction. In fact, the postmodern writers have selected the new hermeneutic concepts and the author's death as their guide from arts and literature viewpoint as to mix deconstruction in their works. Post- modern art usually rejects the distinction between low and high forms. It is likely that postmodern art promotes parody, irony, and playfulness, commonly referred to as "jouissance" by certain theorists. Persian dramatic literature has also outlived a great deal of transformation. Iranian contemporary playwrights tried to originate works on the basis of postmodernism. Bahram Beizaie is a screenwriter/ playwright who has created postmodern works in drama. His “Trilateral reading of Azhdehak” is a distinct example of metafiction within which history and mythology are born and reanimated. In this survey, which is constructed in analytical-descriptive form, we have analyzed the origins of Post- modernism, Post -modern Arts, Post- modernism in dramatic literature and historiographical metafiction. In this process, we have also studied the mentioned play as a meta-fiction to reach the end result. فراداستان تاریخ‌نگارانه از مباحث مهم و شایستة تأمل در پسامدرنیسم است. فراداستان، نتیجة گذار از ادبیات کلاسیک، رئالیسم و مدرن است؛ متنی پست‌مدرنیستی است که فاصله و تفاوت داستان و غیرداستان را در هم می‌شکند و گونه‌ای نو و متناسب با جهان‌بینی پسامدرن را خلق می‌کند. نه‌تنها تعریف جوهرة ذاتی پست‌مدرنیسم دشوار است، بلکه تشخیص خاستگاه تاریخی آن نیز مبهم است. نظریه‌پردازان بسیاری معتقدند که پست‌مدرنیسم، ادامه‌دهندة مدرنیسم است؛ چراکه مدرنیسم یک جریان ناتمام و بدونِ پایان است. همچنین پست‌مدرنیسم از هر گونه تعریف قاطع و قرارگیری در یک قالب پرهیز می‌کند. بهرام بیضایی به‌عنوان یکی از مهم‌ترین نمایشنامه‌نویسان ایرانی، از اساطیر و حماسه در نگارش آثارش کمک گرفته است. اژدهاک از این دسته است. نمایشنامة اژدهاک از سه ‌بَرخوانی نوشتة بیضایی نمونه‌ای از یک فراداستان است که در آن تاریخ و اساطیر به‌گونه‌های دیگر زاده می‌شوند و حیات می‌یابند. در این پژوهش که به شیوة تحلیلی توصیفی نگاشته شده، خاستگاه پسامدرن، هنر پسامدرن و پسامدرن در ادبیات نمایشی و فراداستان ‌تاریخ‌نگارانه تحلیل شده و در ادامه، نمایشنامه ذکرشده به‌عنوان یک فراداستان بررسی شده و در پایان نتایج ارائه شده است. https://jfadram.ut.ac.ir/article_57671_71f7af85630f86d0b2fd6852470517ca.pdf