عنوان مقاله [English]
The theatre, in a sense, consists in the “performance” of the Representation: re-presenting the “Representation” (The Representation whose forms determine the “truth of an age”). In fact, despite any lasting catharsis, theatre, which has become the scenic performance of the representations (State, Culture, Society, and so on), bring forth an indifferent (but not potential) subject. This indifference is related to both temporal and spatial structures - to temporal structure: drama is “performed” because it is already the finished drama; to spatial structure: the “form” of scene itself has already named both sides: actor and spectator. The problem, of course, is that the “scene” has become the dominant spatial structure in the human community. On the other hand, like any other vital sphere, precisely it is by this absolute sovereignty of representations that “space-theaters”, not dialectically but accidentally, withdraw themselves from representation. Theatre, in this sense, will expose itself as an exact opposite of the representative theatre. Thus, it will strive to disclose the unconcealedness of any open affair repressed by the constituted forms of representation. Thanks to this strife, “we” also can dwell in place of the “all-together of representedness”, in the theatre of “truth”. This paper is a report of our “confrontation” with the drama and theatre of HASANK-E VAZIR as a theatre of truth, in which “spatial relations” would determine the potentiality and contingency of roles, of tensions, and of thoughts. In this paper, in other words, it has been tried to make clear a relation between an open drama (affair) and the Open (“to liberate the Open and to establish it in its structure” (Heidegger 1975: 45) is the only way to cope with the constituted representations. The Open is a space in which beings confront one another, seeing only those angles made visible by the particular standing -- or placement -- of each). Our aim is to arrive at a viewpoint from which, once again, the indispensable connectedness among the Work of Art, the True and the Political would be appeared. In the first place, we pursue the concept of artwork by its origin: “The Origin of the Work of Art” by Martin Heidegger. Then, we would leave the origin of the artwork for the theatre of the artwork. The theatre of the artwork or the theatre of truth would be an escape line that redeems us from origin and originthinking. In third step, our task would be only to show that gallows-HASANAK had installed a theatre (Here we come back to “the Origin” but as the drama of the Open). Thus, we would talk over “thing-being” of and then “work-being” of gallows-HASANAK- because thing-being of gallows-HASANAK is the path to its “workbeing” and its “work-being” opens its theatre. In conclusion, the discussion will end up with clearing this idea that gallows-HASANAK, as a work, had preserved the political potentiality of the situation.