عنوان مقاله [English]
نویسنده [English]چکیده [English]
This paper aims to deal with some of the most important ideas of Jacques Derrida on theatre in terms of the existing
philosophical gap between Antonin Artaud and Samuel Beckett. Assessing Derrida’s notions on theatre
studies lead to find an exact reasonable solution for this main question that how his critical views on aesthetics
of modern theatre might been employed today as recognized approaches to face with dramatic artworks; and
the mentioned issue is actually in priority of this research. The leading approach of this paper is based upon
post-structuralism and it covers a range of interdisciplinary records concerned with philosophy and theatre.
The fundamental style of collecting and processing the linguistic signs as well as the philosophical facts,
follow a descriptive-analytical method that is common in qualitative researches. Referring on many reliable
library facts and assessing several linguistic data which are extracted from Derrida’s original contributions
and his translated texts in English, this study attempts to lead any possible reader to a new reception of his
key technical term, Deconstruction, and its all engaged and related meanings in theatre. It is pre-supposed that
Derrida’s perspective on “Theatre of Cruelty and the enclosure of Representation”, in a general sense, could
not be simply conceived as his theatrical standpoint but rather, it is a philosophical chance for him to avoid
his own real positions on the nature of performance. Beckett, furthermore, has a secret absence in his contributions
on modern theatre and literature. Meanwhile, his perspectives on literature and philosophy which
are often associated with a branch of poststructuralist studies would act as the starting point of propounding
a theoretical challenge for the present study. Artaud and Beckett as two prominent theatre practitioners of
modern era are in their own selves typical of a paradox in terms of their performative attitudes and techniques.
Deconstruction, as a new philosophical approach to literary texts and signs, could be applied for theatre studies.
Re-exploring the matter that whether Derrida and his philosophical teachings are naturally applicable
in contemporary challenges of theatre and doing a critical reflection on measuring the interpretability of
dramatic artworks based on his view points, are among the main purposes of the study. On the other hand, it
intends to present reliable judgments on Derrida’s terminology and the manner which they are broadly used
in Iranian academic papers and discourses. The limits of its verifiability, accessibility as well as the accuracy
of his critical point of views on theatre would be examined. In conclusion, some new propositions on deconstruction
there will be propounded which emphasize on the importance of Iranian scholars to reconsider their
conventional views on Derrida and his late neologism.