نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشگاه هنر تهران
2 دانشگاه هنر تهران ، دانشکده سینما تئاتر
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Abstract
This research is going to study Akropolis performance by post structuralism perspective. Akropolis was
directed by Jerzey Grotowski, famous polish director who is indubitably one of the most prominent theatre
Directors and theorists in the second half of the 20th century. He has an important role in progression of
experimental theatre and actor training techniques over the past decades. Akropolis was adapted from the
Stanisław Wyspiański’s dramatic epic poem which was written between 1903 and 1904. The Main Play
[Wyspiański’s poetic drama] was set on the night of Easter Saturday when Sculptures and paintings in the
Wawel cathedral in Kraków were coming to life. The main theme of Akropolis is resurrection, considered not
only as salvation from death, inertia and forgetting, but also as a task given to each human being. Grotowski
performed Akropolis in Auschwitz. He changed the location of events to Auschwitz in order to find out how
far Classic idea of human magnanimity could resist in new Era of Post-war tensions and decadence. The
characters of performance constructed crematorium ovens from customs and iron rust which was located
within the Auschwitz. Performers in this performance are both slaves in Auschwitz and famous historical
characters such as Jacob, Helen, and Paris. Although this performance shows the ancient mythical story, the
meaning of them is unclear. For instance, Christ is a doll and Paris fall in love with Helen as far as Helen is
man. As all the performers are signs, they make an implementation system. In this system there is no final
object so performance shows the absent of life with showing the existence of life. Characters in Acropolis are
signs, which are moving in the space between two worlds, war camp and mythology world, since there is no
center and signified, imply to each other. They have the spur of each other and Take part in the free play of signs
and signify to each other. This implication system in the Akropolis performance was deconstructed based on
Derrida philosophical theories. Conflicts and confrontations in the performing technique of Akropolis make
a complex implication system, which postpone meaning and inception for the audience. Since the theater is
based on the principle of delayed and differentiation, the meaning is always delayed. This qualitative study
is descriptive and analytical. It surveys the performance theme by Derrida’s structuralism perspective. Some
of the main aims of this research are to study Derrida’s deconstruction theory, survey the implementation of
meaning and facts in Akropolis performance, to discover how implication deconstructed in Akropolis. Since
the ‘threshold’ is one of the most important Components of Derrida’s theories, Comparing the relationship
between characters which were in threshold of crematorium ovens in Akropolis and Jacob threshold position
in “battle between Jacob and angel” (one of the mythical story in performance) is the other significant aim
of this article. In crossing the threshold, the only important thing is the energy of moving and in the view of
Derrida this energy is meaning.
کلیدواژهها [English]
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