تولید استعاره های تصویری و مفهومی براساس میزانسن های نمایش با تمرکز بر نمایشنامه هشتمین سفر سندباد نوشته بهرام بیضایی

نوع مقاله : مقاله پژوهشی

نویسندگان

1 دانشیار دانشکده هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.

2 دانشیار گروه زبان و ادبیات فارسی دانشکدۀ ادبیات و زبان های خارجی، دانشگاه آزاد اسلامی واحد کرج، ایران.

چکیده

از جمله رویکردهای جدید به استعاره، نظریه «استعاره های مفهومی» لیکاف و جانسون است که منشأ بسیاری از استعاره ها را جسم انسان و جنبه های مادی می داند. امروزه در تئاتر میزانسن نه تنها چیدمان و حرکت بازیگران روی صحنه، که شامل همراهی عناصر میزانسن مانند ترکیب بندی، تصویرسازی و حرکت با تمام عوامل اجرایی مانند دکور و لباس و موسیقی و نورپردازی است. از آن جا که در تئاتر جنبه های تصویری نمود فراوان دارند، مقاله ی حاضر می کوشد تا نشان دهد که استعاره های تصویری روی صحنه، چگونه به وسیله ی میزانسن تولید می شوند. رویکرد تحلیلیِ پژوهش حاضر به میزانسن و رابطه ی آن با استعاره های تصویری، براساس نظریه استعاره های مفهومی بنا شده است. به منظور بررسی مسئله ی مطرح شده، این رویکرد روی نمایشنامه ی هشتمین سفر سندباد اثر بهرام بیضایی اجرا شده تا درستی آن آزموده شود. براساس نتایج این پژوهش، می توان استعاره های تصویری را با استفاده از میزانسن، ترکیب صحنه و عوامل دیداری و شنیداری نمایش، روی صحنه خلق کرد و استعاره های درون متن نمایشی را به شکل استعاره های مفهومی و تصویری در اجرا نمایش داد.

کلیدواژه‌ها

موضوعات


عنوان مقاله [English]

Production of Pictorial and Conceptual metaphors according to the theatrical mise en scene/ A case study of the Eighth Journey of Sindbad written by Bahrām Beyzai

نویسندگان [English]

  • Mohammad Amin Andalibi
  • Tajbakhsh Fanaian 1
  • Ataollah Koopal 2
1 Associate Professor, School of Performing Arts and Music, College of Fine Arts, University of Tehran ,Tehran, Iran.
2 Associate Professor of Literature and Foreign Languages Faculty, Islamic Azad University, Karaj Branch, Karaj. Iran
چکیده [English]

Throughout the history of art, the study of metaphor has been among the most important discussions within various art forms, including literature. In the modern era, the analysis and application of metaphor is expanded over various areas including cognitive sciences, philosophy, and performing arts. A new approach to metaphor is the theory of “conceptual metaphors” proposed by George Lakoff and Mark Johnson which recognizes the human body and the concepts regarding physical, tangible aspects of life as the origin of many of the metaphors. In theatrical directing, “mise en scene” is one of the major elements of the play which contributes significantly to the creation of the visual aesthetics on the stage. Nowadays, mise en scene not only affects the positions of the actors and their motions, but also includes other major elements such as the composition, picturization, and motion with all the other elements of performance such as the decor, outfits, music, and lighting. The question presented in this study is that how the visual metaphors on the stage are created through mise en scene. Since visual and physical forms are of great significance in theater, the approach employed by the present study towards mise en scene and its relationship with visual metaphors is based on the theory of conceptual metaphors. In order to analyze this proposition, this approach is applied to the play Eighth Journey of Sindbad by Bahrām Beyzai which includes various metaphors in its text and performance to assess its validity. In order to answer the presented question which regards the process of creating pictorial metaphors and the metaphors that are indicated in the original text through mise en scene, first the generalized metaphors and specifically the main conceptual metaphors in Eighth Journey of Sindbad are marked: “Life is a journey”, “Time passing is motion”, “Argument is war” and “orientational and spatialization metaphors”. Then various scenes of the text representing these metaphors are shown and their mise en scenes are analyzed in a way that describes the process of shaping of the intended metaphor as a visual metaphor based on the concept of the very scene through mise en scene. Moreover, various scenes of the original text of the play are analyzed considering the aspects of metaphor in composition and picturization, motion and action, and furthermore the role of audio-visual elements such as decor and scenic design and accessories, makeup and costume design, lighting, music and sound design to create conceptual and pictorial metaphors through mise en scene. According to the results of this study, the visual metaphors can be created through mise en scene, stage composition, and audio-visual elements of the play on the stage. The metaphors in the text of the play can be represented in the form of conceptual and visual metaphors. The creation of such metaphors, in addition to helping to convey the meaning and concept of the work, contributes to its narration and improves the visual richness and pictorial aesthetics of the play.

کلیدواژه‌ها [English]

  • Metaphor, Mise en scene, Conceptual metaphors, Lakoff &
  • Johnson, Eighth Journey of Sindbad