نوع مقاله : مقاله پژوهشی
نویسندگان
1 عضو هیئت علمی گروه آموزشی هنرهای نمایشی دانشکدگان هنرهای زیبا دانشگاه تهران
2 گروه هنرهای نمایشی دانشکده هنرها دانشگاه آزاد اسلامی واحد تهران مرکزی
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
We have always read in numerous texts on the history of theater that the fundamental origin of dramatic texts lies in rituals and myths, and stories or myths usually arise around rituals. Later, anthropologists' texts emphasized that the biological and mental foundation of ancient humans was intertwined with rituals and ceremonies, and ancient humans were caught among a multitude of spirits and invisible powers that they considered mysterious and strange. These issues have been discussed and debated among human science thinkers from the beginning until today. To the extent that in the 20th century, given the extensive research by thinkers in the field of human sciences, a discourse of criticism under the title of myth-based criticism emerged, which is used in the reading of many texts. The goal of this type of criticism and interpretive approach is to examine and develop the mythological subtext in some texts. Texts that clarify for us the methods of collective representations in the perception of primitive humans. The scope of these texts includes everything from the religious, mystical, and philosophical works of the ancients to modern theater and cinema. The essential difference between classical and modern texts lies in the fact that the ancients, in a positive, immediate, and direct way, for the purpose of connecting with the sacred and the divine essence, were unconsciously, intuitively, and believingly floating in the ocean of myths and the supernatural world, while modernists, in a negative and otherness-based manner, with aesthetic and critical approaches, seek to uncover the collective patterns of the mass mind in order to explore the structure of the human mind, and in artistic language, they seek to express the aesthetic essence of human existence.
Our main Goal in this article is to reveal the intertextual space in the play "Nodbeh" and ultimately analyze the character of Zeinab from mythological perspective. In fact, what we are pursuing in this article is the examination of this perspective within the intellectual system of Bahram Beyzai. Our intended method in this research is analytical -descriptive methodology and a qualitative approach. The method of data collection will be the use of library resources and electronic and internet resources in the form of books, treatises, theses, and credible and verifiable interviews. In this article, we will determine the relationship between the scapegoat archetype and ritual in general with the play " Nodbe " to reveal the semantic and focal core of this text. Our main hypothesis in this article is the proposition that the foundation of the work in question is the scapegoat archetype, and without such a reading, a sufficient and appropriate understanding of these works will not be possible, because the structural and narrative elements of this work are based on this foundation. To explain the discussion as accurately as possible, we will first examine the relationship between theater and myths and rituals, and then, using the intended methodology, we will clarify the relationship of this mythological ritual with the mentioned text and, in fact, its application in Bahram Beyzai's work.
کلیدواژه‌ها [English]
)