دانشگاه هنر نامه هنرهای نمایشی و موسیقی 2008-2649 4 8 2014 08 23 Post structuralism views of Akropolis performance خوانش پسا ساختارگرایانه نمایش آکروپلیس 141 5 17 10.30480/dam.2014.17 FA شیرین بزرگمهر دانشگاه هنر تهران زهرا فولادوند دانشگاه هنر تهران ، دانشکده سینما تئاتر Journal Article 2013 06 15 Abstract <br />This research is going to study Akropolis performance by post structuralism perspective. Akropolis was <br />directed by Jerzey Grotowski, famous polish director who is indubitably one of the most prominent theatre <br />Directors and theorists in the second half of the 20th century. He has an important role in progression of <br />experimental theatre and actor training techniques over the past decades. Akropolis was adapted from the <br />Stanisław Wyspiański’s dramatic epic poem which was written between 1903 and 1904. The Main Play <br />[Wyspiański’s poetic drama] was set on the night of Easter Saturday when Sculptures and paintings in the <br />Wawel cathedral in Kraków were coming to life. The main theme of Akropolis is resurrection, considered not <br />only as salvation from death, inertia and forgetting, but also as a task given to each human being. Grotowski <br />performed Akropolis in Auschwitz. He changed the location of events to Auschwitz in order to find out how <br />far Classic idea of human magnanimity could resist in new Era of Post-war tensions and decadence. The <br />characters of performance constructed crematorium ovens from customs and iron rust which was located <br />within the Auschwitz. Performers in this performance are both slaves in Auschwitz and famous historical <br />characters such as Jacob, Helen, and Paris. Although this performance shows the ancient mythical story, the <br />meaning of them is unclear. For instance, Christ is a doll and Paris fall in love with Helen as far as Helen is <br />man. As all the performers are signs, they make an implementation system. In this system there is no final <br />object so performance shows the absent of life with showing the existence of life. Characters in Acropolis are <br />signs, which are moving in the space between two worlds, war camp and mythology world, since there is no <br />center and signified, imply to each other. They have the spur of each other and Take part in the free play of signs <br />and signify to each other. This implication system in the Akropolis performance was deconstructed based on <br />Derrida philosophical theories. Conflicts and confrontations in the performing technique of Akropolis make <br />a complex implication system, which postpone meaning and inception for the audience. Since the theater is <br />based on the principle of delayed and differentiation, the meaning is always delayed. This qualitative study <br />is descriptive and analytical. It surveys the performance theme by Derrida’s structuralism perspective. Some <br />of the main aims of this research are to study Derrida’s deconstruction theory, survey the implementation of <br />meaning and facts in Akropolis performance, to discover how implication deconstructed in Akropolis. Since <br />the ‘threshold’ is one of the most important Components of Derrida’s theories, Comparing the relationship <br />between characters which were in threshold of crematorium ovens in Akropolis and Jacob threshold position <br />in “battle between Jacob and angel” (one of the mythical story in performance) is the other significant aim <br />of this article. In crossing the threshold, the only important thing is the energy of moving and in the view of <br />Derrida this energy is meaning.   <br />در این مقاله اجرای «آکروپولیس » به کارگردانی یرژی گرتوفسکی 1 از منظر فلسفی پساساختگرای ژان <br />ژاک دریدا 2، مورد بررسی قرار می گیرد. آکروپولیس در اردوگاه آشویتس 3 اجرا شده است. اشخاص <br />نمایش با وسایل صحنه که مشتی آهن زنگار گرفته است، کوره ی آد م سوزی را بنا میکنند. تضادها و <br />تقابل ها در تکنیک اجرایی نمایش آکروپولیس، نظام دلالتی پیچیده ای را می سازد که معنا و دریافت را برای <br />تماشاگر به تعویق می اندازد. این نظام دلالتی در اجرای آکروپولیس بر اساس نظریه های فلسفی دریدا <br />واسازی می گردد. آکروپولیس به لحاظ فرم اجرایی، با توجه به دیدگاه های دریدا و بارت مورد بررسی <br />قرار می گیرد. از آنجایی که مقوله ی آستانه هم در دیدگاه دریدا و بارت و هم در اجرای آکروپولیس اهمیت <br />به سزایی دارد، در این پژوهش وضعیت اشخاص نمایش در آستانه ی رفتن به کوره ی آدم سوزی در <br />آکروپولیس بررسی می شود. پژوهش حاضر توصیفی تحلیلی-کیفی و بر اساس تئوری واسازی دریداست https://dam.journal.art.ac.ir/article_17_627ca2604d6a59191d153fa0ce3ad611.pdf