نوع مقاله : مقاله پژوهشی
نویسندگان
1 استادیار گروه کارگردانی تئاتر، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران
2 دانشیار گروه ارتباط تصویری، دانشکده هنر، دانشگاه شاهد
3 دانشجوی دکتری پژوهش هنر، دانشکده هنر، دانشگاه شاهد
چکیده
عنوان مقاله [English]
نویسندگان [English]
The Constitutional Revolution in Iranian history is considered a key turning point in redefining the concepts of power, civic participation, and subjectivity. This development introduced enduring discourses such as legalism, libertarianism, social justice, and popular agency into the fields of Iranian culture and art. The continuity of this intellectual legacy can be traced in a significant part of the dramatic works of the second Pahlavi period, one of the most prominent examples of which is the play "Wood in the Hands of Varzil" written by Gholamhossein Saedi. By posing the central question of "How is the discursive legacy of the Constitutional Revolution reflected in the dialogical relations of the subject in this dramatic work?", the present study seeks to analyze the relationship between the values arising from the Constitutional Revolution and the way in which the subject was formulated in the political and social context of the 1961s. The research method is qualitative and based on the discourse analysis approach. In this framework, the dramatic text is not considered merely as a literary work, but rather as a field for the production of meaning.
In this analysis, axes such as language structure, dialogical action, narrative situations, and mechanisms of power representation are examined as tools for understanding how the constitutional legacy is actualized in the internal structure of the work. The research findings show that the play “The Stick in the Hands of Barzil” creates a kind of intertextual dialogue between the past and the present through the use of symbolic language, allegorical structure, and complex relationships between actors. In this dialogue, the fundamental concepts of constitutionalism, including resistance to tyranny, collective responsibility, and subject activism, are recreated in a metaphorical and multilayered manner within a rural narrative. The study of the dialogical relations of the subject in the play indicates that, instead of directly representing historical events, Saedi creates a space in which seemingly silent and marginalized subjects find the possibility of resistance, interrogation, and redefining their social identity by relying on speech act and dialogue. The results of the research indicate that through this play, Saedi not only revives and perpetuates the discursive heritage of the Constitutional Era, but also, by creating a dialogical space, provides the possibility of continuing this discourse in the context of political developments of the second Pahlavi period. Accordingly, “The Stick in the Hands of Varzil” becomes a stage for rethinking the concept of the subject, social agency, and cultural resistance.
)