نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشگاه هنر ایران ، دانشکده سینما تئاتر
2 عضو هیأت علمی گروه تئاتر، دانشکده ی سینما تئاتر، دانشگاه هنرتهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
This study examines the relationship between theater and performance, with an emphasis on the issues of domination and interaction, within the framework of Jacques Rancière’s theories. Rancière, through his concept of the "political aesthetics," views domination not merely as an economic or ideological mechanism but as a consequence of the ways in which the "distribution and redistribution of the sensible" take place. Based on this premise, the study employs a descriptive-analytical method and a comparative approach to analyze two opposing categories in the performing arts: the dramatic and the performative. The findings indicate that text-based, representational theater, by reinforcing the distinction between actor and spectator, reproduces power structures and reduces the spectator to a passive subject. In contrast, performance—by breaking away from predetermined frameworks—necessitates the simultaneous and active presence of the audience, elevating them from mere spectators to engaged agents of influence. Thus, performance functions not only as an artistic medium but also as a socio-political mechanism that enables the redefinition of power relations and resistance against domination. The study further reveals that, unlike theater, performance is based on live interaction, spontaneity, and the redistribution of social roles. This fosters an egalitarian space in which the performer and the audience become coequals, thereby transforming power dynamics. Consequently, performance can be seen not just as an artistic form but as a liberatory strategy against established orders. Drawing upon theoretical frameworks and real-world examples, this research provides a comprehensive perspective on the intersection of art, politics, and domination.
کلیدواژهها [English]
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