Dramatic Components of National Identity Representation in Bahram Beyzaie's Play "The Eighth Voyage of Sindbad"

The representation of national identity on stage has long been a significant concern for Iranian artists since the advent of Western theater in Iran. This study centers on Bahram Beyzaie's seminal play The Eighth Voyage of Sindbad, examining how the playwright employs dramatic components to portray Iranian national identity. By integrating Benedict Anderson's theory of "Imagined Communities" and Stuart Hall's concept of "Representation," the research analyzes how Beyzaie merges traditional Persian cultural elements with Western theatrical techniques to construct a unique dramatic narrative.

The play is anchored in the familiar mythos of Sindbad, the legendary seafarer, reimagining his mythical journeys to explore deeper questions of identity, belonging, and cultural dissonance.The play revisits the legend of Sindbad, the iconic seafarer, and reimagines his mythical journeys to address profound questions of cultural belonging, identity, and transformation. Sindbad’s journey transcends the conventional boundaries of adventure, delving into existential themes and the collective psyche of Iranian society. Through a multi-layered narrative structure, Beyzaie combines historical, mythical, and religious motifs, reflecting the complexity of Iranian identity and critiquing its sociopolitical and cultural underpinnings. This interplay results in a vibrant theatrical form that is simultaneously rooted in Persian traditions and resonant with universal themes.

This research highlights Beyzaie's innovative use of dramatic components, including poetic dialogue, symbolic characters, allegorical storytelling, and narrative layering. These elements are deeply embedded in Persian artistic and literary traditions, creating a dramaturgical style distinct from the Western canon. Beyzaie’s use of temporal and spatial abstraction, particularly through minimalist staging and symbolic settings, adds another dimension to the play’s dramatic impact. For instance, the symbolic platform in the play represents both Sindbad’s voyage and the existential challenges of his journey, encapsulating the tension between individuality and the collective experience.

Moreover, the study explores the sociopolitical implications of Beyzaie's work, which critiques the ideological constructs and identity-shaping forces of the 1960s and 1970s in Iran. The play juxtaposes Sindbad’s personal quest for happiness with the broader societal struggles of his time, reflecting the contradictions of modernity and tradition. Beyzaie employs Sindbad not merely as a character but as an allegorical figure, representing the search for national identity amidst competing influences of Westernization, religious orthodoxy, and historical nostalgia.

Additionally, the research underscores the dramatic innovations in The Eighth Voyage of Sindbad, particularly in its engagement with Persian theatrical traditions. Beyzaie incorporates elements of traditional Iranian storytelling, such as narrative-in-narrative structures and symbolic representations, while drawing inspiration from Eastern theatrical philosophies. These influences merge seamlessly with Western techniques, creating a hybrid dramatic style that challenges the dichotomy between tradition and modernity.

By synthesizing mythological motifs, historical narratives, and modern dramaturgy, Beyzaie offers an enduring model for representing national identity on stage. This study posits that The Eighth Voyage of Sindbad exemplifies a pivotal moment in contemporary Iranian theater, where traditional and modern components coalesce to form a distinctly Iranian yet universally relevant theatrical language. The research concludes that Beyzaie’s innovative dramaturgical approach not only revitalizes Persian dramatic traditions but also provides a profound framework for exploring and redefining national identity in the performing arts.