Polyphony reflection in the plays “Ghadamshad the minstrel’s Martyrdom-playing in Tehran” and “Makeup Room” with Paul Castagno's language- based approach
1
Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran
2
Tarbiat Modares University
3
Faculty of dramatic literature Tarbit University Tehran Iran
10.30480/dam.2025.5563.1938
Abstract
The present study examines the manifestations of polyphony in two notable plays by Mohammad Rahmanian and attempts to present a generalizable model for reading contemporary dramas by focusing on the forms of linguistic realization. The concept of polyphony originally rooted in the theories of Mikhail Bakhtin, the concept of polyphony is reexamined here using Paul Castagno’s language-based approach, Castagno has proposed a model appropriate to dramatic structure that analyzes the unique features of the language of the play. By exploring the divergence between Castagno's dramatic approach and Bakhtin's novel-oriented perspective, this study shows that this distinction can provide a suitable platform for raising novel issues in theorizing drama. The analysis focuses on two plays: “Ghadamshad the minstrel’s Martyrdom-playing in Tehran” and “Makeup Room”. The analysis of these two texts has been doned with an emphasis on four linguistic forms: colloquial speech, media-specific language, inter-style voices, and the function of faces and appearances. The results of the research show that an effective perception of polyphony in dramatic texts requires the identification of metalinguistic layers and multiple sign systems in interaction with each other. Furthermore, when a medium with its own language interacts with another medium, for example, a medium with its own linguistic characteristics hegemonizes another medium, the structure of the drama actually enters the realm of “mixed form,” a concept that has a central place in Castagno’s theories. Ultimately, this research argues that Rahmanian’s works can be analyzed under the concept of polyphony with a dramatic-performative identity; a concept that, in addition to linguistic multi-layering, also emphasizes simultaneous discourses, performance dynamics, and inter-media interactions. The research follows a descriptive-analytical methodology and is based on close textual analysis supported by library sources.
mohammadi, F. , Yousefian Kenari, M. J. and Mokhtabad, S. M. (2025). Polyphony reflection in the plays “Ghadamshad the minstrel’s Martyrdom-playing in Tehran” and “Makeup Room” with Paul Castagno's language- based approach. , 16(41), 107-120. doi: 10.30480/dam.2025.5563.1938
MLA
mohammadi, F. , , Yousefian Kenari, M. J. , and Mokhtabad, S. M. . "Polyphony reflection in the plays “Ghadamshad the minstrel’s Martyrdom-playing in Tehran” and “Makeup Room” with Paul Castagno's language- based approach", , 16, 41, 2025, 107-120. doi: 10.30480/dam.2025.5563.1938
HARVARD
mohammadi, F., Yousefian Kenari, M. J., Mokhtabad, S. M. (2025). 'Polyphony reflection in the plays “Ghadamshad the minstrel’s Martyrdom-playing in Tehran” and “Makeup Room” with Paul Castagno's language- based approach', , 16(41), pp. 107-120. doi: 10.30480/dam.2025.5563.1938
CHICAGO
F. mohammadi , M. J. Yousefian Kenari and S. M. Mokhtabad, "Polyphony reflection in the plays “Ghadamshad the minstrel’s Martyrdom-playing in Tehran” and “Makeup Room” with Paul Castagno's language- based approach," , 16 41 (2025): 107-120, doi: 10.30480/dam.2025.5563.1938
VANCOUVER
mohammadi, F., Yousefian Kenari, M. J., Mokhtabad, S. M. Polyphony reflection in the plays “Ghadamshad the minstrel’s Martyrdom-playing in Tehran” and “Makeup Room” with Paul Castagno's language- based approach. , 2025; 16(41): 107-120. doi: 10.30480/dam.2025.5563.1938
)