نوع مقاله : مقاله پژوهشی
نویسندگان
1 کارشناسی ارشد ادبیات نمایشی، گروه نمایش، دانشکده سینما و تئاتر، دانشگاه هنر ایران، تهران، ایران.
2 دانشیار گروه تئاتر، دانشکده سینما-تئاتر، دانشگاه هنر ایران، تهران، ایران
چکیده
عنوان مقاله [English]
نویسندگان [English]
this study draws on “cruelty” in the thought of Antonin Artaud to examine the transformation of the logic of representation and experience in contemporary theatre within the context of the digital age. It raises the central question of the extent to which, given the fundamental changes in representational technologies and mediating mechanisms, one can remain optimistic about the possibility of the emergence of Artaudian cruelty in contemporary theatre. The significance of this issue stems from the fact that theatre, as an art form grounded in presence, embodiment, and lived experience, has encountered a crisis of meaning, subjectivity, and affect in the face of new logics of simulation, virtuality, and digital technologies. This crisis has influenced not only the aesthetic configuration of theatre but also its ontological and epistemological foundations. Accordingly, the concept of Artaudian cruelty is employed here not in relation to its manifestation in theatrical performance, but rather as a concept for understanding the very nature and perception of theatre. The theoretical framework of this study is the theories of Causey. In the analytical section, The Balcony and The Nether are selected as case studies because both works structurally engage with the representation of power, violence, virtuality, and the collapse of symbolic authorities, thereby enabling an analysis of the logics of simulation and entanglement at both dramatic and performative levels. The findings of the study indicate that within the framework of digital mechanisms, Artaudian cruelty, rather than producing shock, rupture, and transformation, is reduced to representation, repetition, and stasis.
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