نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشیار گروه هنرهای نمایشی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.
2 دانشجوی دکتری تئاتر، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
This research demonstrates how the aporia of reality/imagination can become a rhetorical tool in drama to make drama self-deconstructive. Aporia illustrates undecidability leading to an impasse which is shown in the deconstruction of the binary oppositions. Deconstructing the reality/imagination opposition, indicates that reality is not dominant to imagination and that there is a correlaiton. This aporia can stem from a subjective reality in which the objective world is constructed through subjective lenses, deconstructing objective/subjective opposition. The aporia of reality/imagination can be seen in monodramas that depict one character's life as well as the surrealist dramas. In monodramas, the subject, or the character, constructs the object or the reality of the given world by expressing their mind; that is, the subjective viewpoint creates an object that constitutes the character's entire world. To elaborate on the subjective view, the monodramas Krapp’s Last Tape by Samuel Beckett, The Anniversary Present by Afshin Hashemi, and Where is This Place? by Naghmeh Samini are examined. In these plays, the world we encounter is the subjective viewpoint of the character and there is no alternative reality other than the presented. In this way, the object/subject opposition is deconstructed. Furthermore, the reality of the subject takes place in their mind, and the audience does not know what part of the information the character is sharing is based on ‘reality’ and what part is based on ‘imagination’, deconstructing reality/imagination opposition. The deconstruction of the reality/imagination opposition can be studied in surrealist drama as well. To show this deconstruction, the plays A Dream Play by August Strindberg, Six Characters in Search of an Author by Luigi Pirandello, Khanumche va Mahtabi by Akbar Radi, and Sleeping in an Empty Cup by Naghmeh Samini are studied. The results show that in these plays, reality and imagination are intertwined. It is impossible to draw a clear boundary between them, as these two concepts sometimes coexist and one character's reality can be another’s imagination. In this way, the reality/imagination opposition is deconstructed and the two parts of the binary are intertwined. Furthermore, the aporia in monodrama and surrealist drama highlights the concept of “truth” in comparison to ‘reality”. “Reality” deals with “real” observable things in the world human senses. “Truth”, however, deals with the comprehension of that sensible reality in mind. Because of this, “subjective reality” can also be called “truth”, which is clearly shown in surrealist dramas and one-character-monodramas. In a broader perspective, these dramatic sub-genres can shed light on “truth” of life and human connections as well. Due to the blurred boundaries between objective and subjective, as well as reality and imagination, the audience, practicing critical thinking, views the work with a new perspective through which they will not accept one part of the opposition or the other, but both simultaneously. This leads to the creation of new meanings in drama, and in a broader sense, in life. In this way, monodrama and surrealist drama are aporetic and self-deconstructive, a condition we need to pay attention to when encountering the perplexed issue of truth.
کلیدواژهها [English]
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