The Component of "Inner Plot Representation" with a Focus on Walter Benjamin's Concept of Trauerspiel in Selected Plays by Bahram Beyzaie and Naghmeh Samini

Document Type : Research Paper

Authors

1 Assistant Professor, Department of Art, Faculty of Civil Engineering, Architecture and Art, Science and Research Branch, Islamic Azad University, Tehran, Iran.

2 MA in Dramatic Literature, Department of Art, Faculty of Civil Engineering, Architecture and Art, Science and Research Branch, Islamic Azad University, Tehran, Iran.

Abstract

This research examines the component of "inner plot representation" based on Walter Benjamin's concept of Trauerspiel to achieve a novel structure of plot. In Benjamin's interpretation of Trauerspiel, two types of plot exist: the main plot and the inner plot. The main plot refers to the storyline narrated in the present, while the inner plot signifies a scheme or intrigue that depicts the past within the present, either parallel to or in contrast with the main plot. The representation of the inner plot should be such that it does not disrupt the unities of action, time, and place in the main plot. The inner plot is an action initiated by the martyr or hero to reveal the conspirator's scheme.
Utilizing a library research method for data collection and a descriptive-analytical approach, this study examines the component of inner plot representation in the plays: Death of Yazdgerd and The Trial of Socrates by Bahram Beyzaie, and Sleep in an Empty Cup and The Farce by Naghmeh Samini.
In Death of Yazdgerd, the inner plot is constructed through the repetition of history and shifting roles, sometimes in contrast and sometimes parallel to the main plot. The representation of the unfinished narrative of the past as disparate puzzle pieces within the present disrupts the narrative sequence within the fixed temporal and spatial framework. The division of scenes into even and odd numbers, correspond to past and present times. In The Trial of Socrates, the inner plot creates discontinuity and disrupts the sequence of events within the timeline and spatial setting. The author's conflation of the character of Imam Ali with the writer within the text connects the past and present narratives.
In Sleep in an Empty Cup, the connection between past and present and the representation of the inner plot within the main plot occur through the characters' subjective time and the conflation of two past and present situations within the present. The characters' mental flashbacks do not disrupt the sequence of action and narration in the present. In The Farce, the unfinished narrative of the past is represented through the repetition of history, the presence in the abandoned house, and Narges/Noghreh's pregnancy in the present.
The inner plot operates in relation to the main plot, and another plot is depicted within the inner plot in a "play within a play" manner. Consequently, in these four dramatic texts, the inner plot is represented within the main plot through the characters' subjective time, the repetition of history, the shifting of roles, the narrative nature of the account, the connection between two past and present situations, and the conflation of characters in a "play within a play" style. A difference in the lack of sequence of events within the spatial-temporal continuum is evident. The research indicates that the representation of the inner plot is a creative structure for writing dramatic texts, as it allows for the reflection of historical and political events of society within artistic works through a "play within a play" method.

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References

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Journal of Fine Arts: Performing Arts & Music
Volume 30, Issue 4
September 2025
Pages 21-30

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