Document Type : Original Article
Authors
1
Department of Theater,
2
Professor, Department of Islamic Philosophy, Faculty of Humanities, Center Tehran Branch, Azad University, Tehran, Iran.
3
Department of Art Research, Arts Faculty, Central Tehran Branch, Islamic Azad University, Tehran, Iran
10.30480/dam.2024.5272.1887
Abstract
This research aims to show a special dramaturgical method in Aql-i-Sorkh as one of Suhrewardi`s Recitals and finally introduce this text and other recitals written by Suhrewardi as a performing text. Hanry Corbin, repeatedly pointed out dramaturgical aspect in Suhrawardi's recitals, and the present study will try to explain Ta`wil as the main element of this dramaturgical mechanism. Ta`wil allows Suhrawardi to combine his literary, Philosophical and religious heritage, no matter those are lexical or oral, and contemporaries them in a mystical Drama. This research shows how we can re-identify these recitals as a performance texts by re-narrating them in Ta`wil as a special method. In the continuation of the present research, by establishing a relationship between a type of performance from the descent of the sacred or esoteric theater, such as what can be seen in the works of Artaud and Grotowski, with the dramaturgical method of Suhrawardi, it shows that Aql-i-Sorkh and other plays of Sheikh Eshraq can be He considered them as reports of a ritual/Gnostic performance and obtained new performances by reinterpreting and contemporizing them. This concept of contemporization, while maintaining Gnostic links, will communicate with the simultaneous concepts of each author and, accordingly, the audience of the performance, and in this way, Ta`wil as the main element of Suhrawardi's dramaturgical mechanism provides the ability to produce an endless chain of text/performance, which in It will be applicable at any time with the contemporary form and structure of that time. in other words, Suhravardi`s audience can use this Ta`wil as a method to make new texts based on suhravardi`s text, it is possible by re interperatating old texts in a dramaturgical way, the audience of Sohravardi will be able to produce new texts based on interpretation and contemprorization. These modernized texts will be produced based on previous texts. These texts will not necessarily depend on the elements in the previous texts, but through the interpretation mechanism of each element in the previous texts, it will be presented in a new form and with a new formulation suitable for the time and place of the new author.
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