نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشگاه هنر تهران
2 کارشناس ارشد ادبیات نمایشی
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Although Shirafkan's Destiny follows general principles of Taziyah, its narrative plot and characterization is quite unique. The confrontation of Emam Ali and Shirafkan is not merely the absolute opposition of the good and the evil, since Emam Ali's exaggerated magnanimity before this murderer's bombast leads to a more magnificent ending than the narrative of Pouryaye Vali's. Here, Shirafkan confronts his own internal idol as well as objective idols in the real world, which makes him surpass his material love to Shaghayegh's daughter and reach the divine love. What has made the narrative structure of this Tazieh thohght-provoking is the creative application of Greimas' actional models. Studying Propp's morphology of fairy tales, Greimas defined some different universal principles for narratives. To him, any phenomenon has two opposing sides that form narratives represented by plots' principles. Greimas argues that plots' principles can be exercised through six main actional models, including:1. The message sender/The receiver, 2. The supporter/The conflict and 3. The subject (hero)/ The object. These actional models are first configurated, then, going through some changes, are reconfigurated in Shirafkan' Destiny. This practice is what makes this comic-tragic Taziyah similar to modern melodramas. A tragic melodrama whose narrators, Taziyahgardans, finally distance themselves from their roles asking tea and Shisha from their audience.
کلیدواژهها [English]
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