نوع مقاله : مقاله پژوهشی
نویسندگان
1 استاد دانشگاه فرهنگیان نسیبه تهران استاد دانشگاه آزاد اسلامی واحد تهران مرکزی هنرآموز رسمی آموزش و‌پرورش منطقه نه تهران
2 استاد تمام دانشگاه آزاد واحد یزد
3 استادیار دانشگاه تربیت مدرس
4 استادیار دانشگاه تهران مرکزی
5 هیئت علمی وابسته دانشگاه آزاد اسلامی واحد تهران مرکزی
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
This article examines and analyzes the audience’s encounter with the auditory space of Ta’zieh based on the views of Maurice Merleau-Ponty. Using a descriptive-comparative method, it explores the potential capacities of the audience’s phenomenological encounter with the performance process of Ta’zieh to open new theoretical horizons based on philosophical and interdisciplinary approaches for explaining the ritual performance of Ta’zieh.
The theoretical framework of this research is phenomenology in general and the embodied phenomenology of Maurice Merleau-Ponty in particular. The main goal of the article is to explain the phenomenological encounter of the audience with the auditory space of Ta’zieh based on Merleau-Ponty’s philosophical foundations. It seeks to answer the question of how, based on Merleau-Ponty’s phenomenological concepts, a suitable framework can be provided for studying, explaining, and analyzing the audience’s phenomenological encounter with the auditory space of Ta’zieh.
The findings indicate that in the event of Ta’zieh, the auditory, visual, tactile, and phenomenological spaces are intertwined and inseparable. According to Merleau-Ponty’s thought, this interwoven and unified space creates the overall emotional atmosphere of the Ta’zieh performance.
Different forms of Iranian theater have emerged over time from rituals, mourning ceremonies, and celebrations. These theatrical forms have a set of techniques, characteristics, and performance conventions that have been passed down orally from generation to generation. They have evolved and transformed according to the political, cultural, and social features of each era. Therefore, traditional Iranian theater is based on popular culture and religious perspectives. The role and importance of the audience and the impact of the performance style in various forms of Iranian theater, especially Ta’zieh, are undeniable. One of the most significant aspects of Ta’zieh that evokes the emotions and feelings of the audience is their encounter with the auditory space of the performance. Singing, sound, tone, and music are integral parts of Ta’zieh performances. A phenomenological examination of how the audience is influenced by these auditory phenomena can play an important role in explaining how their emotions and feelings are stimulated.
As mentioned, from Merleau-Ponty’s phenomenological perspective, different phenomena create different sensory perceptions. In the process of the Ta’zieh event, the intertwining of auditory and visual spaces in various parts of the performance is evident to enhance emotions and affect the audience. This auditory pattern is adjusted according to the mood of each event. For example, when we encounter the narrative pattern of the performers as the protagonists, the vocal pattern follows a sad and melodic tone; however, when we encounter the event pattern corresponding to the antagonists, the vocal pattern follows a declamatory or aggressive tone, and the performer adjusts their bodily behavior based on this verbal situation, creating a sense of aggression and tension in the audience through this capacity of using auditory space and behavioral patterns. Therefore, in the Ta’zieh event, by combining auditory, visual, tactile, and phenomenological spaces, we face a model for forming the living space of the Ta’zieh performance, where these spaces are inseparable and, based on Merleau-Ponty’s thought, are intertwined and integrated, creating the overall emotional atmosphere of the Ta’zieh space.
کلیدواژه‌ها [English]
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