نوع مقاله : مقاله پژوهشی
نویسندگان
1 استادیار گروه هنرهای نمایشی، دانشکده هنرهای نمایشی و موسیقی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.
2 دانشجوی کارشناسی‌ارشد کارگردانی تئاتر، دانشکده هنرهای نمایشی و موسیقی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران.
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Numerous scholarly works have explored the absurd theatrical movement and analyzed Beckett's plays. However, there is a noticeable lack of comprehensive analysis of the performative aspects within Beckett's theatrical works, with only isolated cases having been studied. In fact, the performances of Beckett’s plays have been neglected and this research seeks to fill this gap by employing a semiotic approach in the analysis of two significant performances: Krapp's Last Tape, directed by Atom Egoyan, and Endgame, directed by Samuel Beckett. Among many performances of Beckett’s plays, these two have been chosen due to their importance and significance of the absurd theatrical movement.
While semiotics offers a fertile ground for cognitive studies, it has been underrepresented in the domain of drama and theater, despite its significant presence in this literary sphere. Early semioticians in theater primarily focused on dissecting dramatic signs and textual elements. However, starting in the 1980s, newer semioticians began emphasizing the analysis of theatrical performance. Drawing upon semiotic theories by eminent scholars such as Keir Elam and Eli Rozik, this research aims to unravel the intricate process of meaning production and transmission to both directors and the performing ensemble through a meticulous examination of semiotic signs within theatrical performances and a thorough comprehension of how these signs interrelate within the context of the performance.
Theatrical metaphor and stage contracts emerge as pivotal components in the analysis of theatrical performances, particularly in absurd plays. According to Peirce's triadic classification of signs, metaphor belongs to the iconic category, with the governing principle hinging upon similarity between the sign and its referent. Rozik introduces another significant facet of metaphor, namely stage metaphor, which invariably involves a fixed entity to which a metaphorical statement refers. Scenic metaphor, at non-verbal levels, encompasses the actor's performance style, gestures, movements, and various other non-verbal forms. Conversely, stage contracts encapsulate a set of theatrical rules and norms that inherently do not elucidate their meanings. Rather, a comprehension of their meanings is derived through a detailed examination and analysis of the relationships of similarity or adjacency between these conventions within the presented domain. In essence, comprehending stage contracts serves as a tool through which a profound understanding of theater is attainable.
Using a descriptive-analytical methodology, this research begins with an overview of theater semiotics. Subsequently, various types of metaphor and stage contracts, along with other vital components for analyzing theatrical performances, are meticulously scrutinized in the performances of Krapp's Last Tape and Endgame. This analytical approach aims to facilitate a comprehensive understanding of how directors and performers can grasp the nuances of readings and the intricate process of meaning production within these performances. Additionally, this paper explores the broader implications of semiotics in understanding the evolution of theatrical art and its role in contemporary dramatic performances. The study delves into the interplay of semiotics and theatricality, shedding light on how meaning is constructed and conveyed in theatrical performances, thereby contributing to a deeper comprehension of the artistic and philosophical dimensions of absurd theater.
کلیدواژه‌ها [English]
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