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تبیین جامعه‌شناختی عناصر کارناوالیته در نمایش‌های عصر ناصری | ||
| جامعه شناسی هنر و ادبیات | ||
| مقاله 6، دوره 2، شماره 1، خرداد 1389، صفحه 167-196 اصل مقاله (203.66 K) | ||
| نویسنده | ||
| شیوا مسعودی | ||
| عضو هیئت علمی دانشکده هنرهای نمایشی و موسیقی پردیس هنرهای زیبای دانشگاه تهران. | ||
| چکیده | ||
| در این مقاله نمایش‌ها و نمایشواره‌های عصر ناصری از منظری جامعه‌شناسی بررسی شده‌اند. هدف از این تحقیق دریافت دو مسئله است: یکی درک چگونگی تأثیر این نمایش‌ها در تکوین فضایی که به تماشاگران آن مجال رهایی موقت از شرایط سخت و استبدادی آن زمان را می‌داد و دیگر پاسخ به این سئوال که ناصرالدین شاه در مقام نمایندة قدرت مسلط در پدید آمدن این شرایط، چه نقشی داشته است. چارچوب نظری این مقاله نظریة کارناوال باختین است که در ادامة بحث منطق گفتگویی، تکوین شرایط کارناوالی را دستیابی به نوعی دموکراسی موقت و زندگی غیررسمی در برابر شرایط استبدادی و زندگی غیررسمی می‌داند. با توجه به زمینة تاریخی حوزة مطالعاتی، روش تحقیق این مقاله اسنادی- تحلیلی است. برای دستیابی به چگونگی نمایش‌های آن دوره، بازخورد مردم، شرایط اجتماعی و ویژگیهای فکری ناصرالدین شاه از منابع و اسناد تاریخی آن زمان استفاده شده و بر اساس ضرورت بحث، اطلاعات گرفته شده مقایسه، تحلیل و ارزیابی شده‌اند. در این مقاله، وضعیت اجتماعی عصر ناصری و ویژگیهای نمایش‌های تعزیه، شبیه مضحک و نمایش واره‌های دلقک بازی درعصر ناصری شرح داده شده و با توجه به نشانه‌های نمایشی استخراج شده از شرایط کارناوالی بررسی شده‌اند م تلاش شده است تا به این پرسش‌ها پاسخ داده شود که این که چگونه اجرای این‌گونه نمایش‌ها نوعی تکوین کارناوالیته قلمداد می‌شود، نقش ناصرالدین شاه در این تکوین چه بوده است و چگونه کارکردهای دوسویة آن هم به تداوم قدرت شاه و هم به حس آزادی موقت و آرامش مردم در شرایط دشوار کمک می‌کرده است | ||
| کلیدواژه‌ها | ||
| تعزیه؛ دلقک.؛ شبیه مضحک؛ کارناوال؛ ناصرالدین شاه؛ نمایش | ||
| عنوان مقاله [English] | ||
| A Social Analysis of Carnival Elements in Naseri Period Plays | ||
| نویسندگان [English] | ||
| shiva Massoudi | ||
| چکیده [English] | ||
| Theatre enjoys the highest status in social relationships and this trait arises from two characteristics: the first one is that theatre is formed at the time and place of performance. Theatre is created in specific time on stage for the audience. The second one is direct presence of the audience which is the third basic element of theatre. Theatre is created through direct encounter of actors and audience. This two-sided relation forms the unique social relationship of the theatre. In traditional theatre plays, which are performed in public among ordinary people from different social cast, this sociological trait is clearer. In these plays, in which the most important aim is the relation with audience, the comedy version is performed in improvised base and tragic version is performed with improvised parts. These improvisations can propound the people's social views. Although there are valuable researches about Iranian traditional theatre, this type of theatre has rarely been researched from cultural and sociological point of view. The Bakhtin Carnival’s theory, which is assigned in sociological studies realm, is widely applied in critical literature but less applied in sociological analysis of theatre types. Bakhtin believes that ritual theatre consisting of arena and street theatre are forms of carnival. One of the characteristics of carnival setting is heteroglossia, in which different voices can be heard and one of its representations is laughter. Then having dialogue, participation, equality and freedom are the important functions of carnival. All of these contribute to its creation. In carnival, difference and casts disappear and everyone can utter his view freely. People experience another life with freedom in carnivals. In totalitarian governments, carnival is a resistance against hegemonic power. But sometimes the government resorts to carnival as a factor of trust. They use carnival consciousness or unconsciousness to decrease social and economic pressure on people. For searching carnival conditions, it should be defined through its signs in theatre. Dramatic signs of carnival consist of place sign, social sign, speech sign, behavior sign and conceptual sign. For finding these signs in traditional theatres of Nasrei period (Nasereddin Shah), a basic knowledge of this period is necessary. Nasereddin Shah’s period has been the longest and the most eventful period of Qajar dynasty. This period's social and political developments, which are contemporary with 19thcentury evolutions in Europe, make it a passage time from traditional to modern society. Naserddin Shah was a dictator who liked reforms. He not only had no negative view about reforms but also considered them necessary and useful for the government and for improving the society. On the other hand, he was such voluptuary spending most of his time in leisure pursuits hence supporting theatres as a means of amusement. These theatres had three types: Ta`ziyeh, Shabih Mozhek and Dalghakbazi (clown play). Qajar's kings preserved the tradition of Ta`ziyeh extensively and raised it to a high status. Ta`ziyeh ceremonies among non-cast groups brings people close to each other and create a feeling of unity and common aim, which is promoting justice and battling against cruelty. There are some traces of carnival in Ta`ziyeh, such as participation and heteroglossia, creating a different life vis-à-vis formal life and non-existence of any distance between actors and audience. Along with Ta`ziyeh, there exist some other types of play which lack any mourning mood; rather, they amuse people and bring about happiness: this type of theatre is named Shabih Mozhek. Mostly, its basic content was scoffing the religion’s enemies. | ||
| کلیدواژه‌ها [English] | ||
| Carnival, Dalghak, Nasereddin Shah, Play, Shabih Mozhek, Ta`ziye | ||
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