كليدواژه :
ﭘﺮﻓﻮرﻣﻨﺲ ﺗﺴﺨﯿﺮ , ﺗﻌﺎﻣﻞ و رﯾﺰوم , ﻣﺨﺎﻃﺐ , ژﯾﻞ دﻟﻮز
چكيده فارسي :
ژﯾﻞ دﻟﻮز، ﺑﺎ دﯾﺪﮔﺎه ﺟﺴﻢﮔﺮاﯾﺎﻧﻪ ﺑﻪ ﺣﯿﺎت، روﯾﮑﺮدي ﺟﻬﺖ ﺗﺤﻠﯿﻞ رﻓﺘﺎر اراﺋﻪ ﻣﯽدﻫﺪ ﮐﻪ ﺑـﻪ درك ﭼﮕـﻮﻧﮕﯽ ﮐﻨﺶ و ﺷﻨﺎﺧﺖ ﻣﯿﺎن اﻓﺮاد ﻣﯽاﻧﺠﺎﻣﺪ. ﺧﻮاﻧﺶ ﭘﺮﻓﻮرﻣﻨﺲﻫﺎ ﺑﻪ ﻋﻨـﻮان ﻫﻨﺮﻫـﺎي ﺗﻌﺎﻣـﻞ ﻣﺤـﻮر، ﮐـﻪ ﺟﺎﯾﮕـﺎه ارزﺷﻤﻨﺪي ﻣﯿﺎن ﻫﻨﺮﻫﺎي ﻣﺪرن داﺷﺘﻪ و ﺗﻮاﻧﺴﺘﻪاﻧﺪ ﻫﻨﺮ را ﭘﻮﯾﺎ و ﺗﻌﺎﻣﻼت اﻧﺴﺎﻧﯽ را ﺑﻪ ﺧﻠـﻖ اﺛـﺮي ﮔﺮوﻫـﯽ ﻣﻨﺠﺮﮐﻨﻨﺪ، ﺑﺎ ﺷﯿﻮة دﻟﻮزي ﻣﻮﻓﻘﯿﺖآﻣﯿﺰ ﻫﺴﺘﻨﺪ. در ﭘﻮﯾﺶ ﺣﺎﺿﺮ ﺑـﻪ ﺑﺮرﺳـﯽ ﺷـﻨﺎﺧﺖ و ادراك ﭘﺮﻓـﻮرﻣﻨﺲ ﺗﺴﺨﯿﺮ ﭘﺮداﺧﺘﻪ و ﻗﻮاﻋﺪ زﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﺎﻧﻪ را در آن ﺟﺴﺘﺠﻮ ﮐﺮده و ﺳﭙﺲ از ﻣﻌﺮﻓﺖ ﺣﺎﺻﻞ ﺟﻬﺖ ﺑﺎزﺷـﻨﺎﺧﺖ رﻓﺘﺎرﻫﺎي اﻧﺴﺎﻧﯽ از ﻧﮕﺎه ﻓﻠﺴﻔﮥ دﻟﻮز، اﺳﺘﻔﺎده ﺷﺪه اﺳﺖ. ﺑﺮ ﻣﺒﻨﺎي ﺷﯿﻮه ﺗﺤﻠﯿﻠﯽ-ﺗﻮﺻﯿﻔﯽ ﺑﺎ روﯾﮑـﺮد دﻟـﻮز ي ﻣﺸﺨﺺ ﺷﺪ ﮐﻪ ﭘﺮﻓﻮرﻣﻨﺲ ﺗﺴﺨﯿﺮ ﺑﻪ ﻋﻨﻮان ﯾﮏ روﯾﺪاد ﻫﻨﺮي ﻓﺮﺻـﺖ زﯾﺴـﺘﻦ در ﻟﺤﻈـﻪ را ﺑـﺮاي ﻣﺨﺎﻃـﺐ ﻓﺮاﻫﻢ ﻣﯽآورد و از آﻧﺠﺎ ﮐﻪ ﯾﮏ اﺛﺮ ﺗﻤﺎﻣﯿﺖ ﯾﺎﻓﺘﻪ ﻧﯿﺴﺖ، ﻣﺨﺎﻃﺐ ﺑﻪ ﻣﻌﺮﻓﺖ ﺟﺎﻣﻊ از اﺛﺮ ﻧﺮﺳـﯿﺪه و ادراك او ﺗﺪرﯾﺠﯽ و در اﻣﺘﺪاد ﺗﺠﺮﺑﻪﮔﺮي اوﺳﺖ، ﭘﺲ ﺻﺪور ﺣﮑﻢ زﯾﺒﺎﯾﯽﺷﻨﺎﺳﺎﻧﻪ در راﺑﻄﻪ ﺑﺎ آن ﺑﯽ ﻣﻌﻨﺎﺳﺖ. ﺑﺮﺧـﻮرد ﻣﺨﺎﻃﺐ ﺑﺎ اﺛﺮ ﺑﺪﻧﻤﻨﺪاﻧﻪ اﺳﺖ و ﻣﺨﺎﻃﺐ ﺑﻨﺎﺑﺮ ﺗﻌﺮﯾﻒ ﺑﺪن ﻣﺎﺷﯿﻦ، ﺑﺎ اﺗﺼﺎل ﺑﻪ اﺑﺰار و اﻓﺮاد در ﻟﺤﻈﻪ، ﻣﺎﺷـﯿﻦ ﻣﻨﺤﺼﺮﺑﻪﻓﺮدي را ﺗﺸﮑﯿﻞ ﻣﯽدﻫﺪ ﮐﻪ داراي ﺑﺎﻟﻘﻮﮔﯽﻫﺎي ﺧـﺎص ﻧﯿـﺰ ﻫﺴـ ﺖ و اﻧﺘﺨـﺎب ﻣﺨﺎﻃـﺐ )ان(، روﻧـﺪ روﯾﺪاد را ﻫﺪاﯾﺖ ﻣﯽﮐﻨﺪ؛ ﺑﻨـﺎﺑﺮاﯾﻦ ﻓﻀـﺎي ﭘﺮﻓـﻮرﻣﻨﺲ در ﻟﺤﻈـﻪ ﺳـﺎﺧﺘﻪ ﺷـﻮﻧﺪه اﺳـﺖ و ﺑﺮاﺳـﺎس رﯾـﺰوم، ﺟﻬﺖ ﮔﯿﺮي اﺗﻔﺎﻗﯽ دارد.
چكيده لاتين :
Gilles Deleuze, as a postmodernist philosopher with a sophisticated expanded view on life, offers an approach to analyze behaves which leads to the understanding of human action and behavior. Reading performances as a part of interactive arts which have a valuable place among modern arts that have been able to make dynamist art, are successful in a Deleuze’s method. In the present study, the cognition and perception of conquest performance have been studied and the aesthetic rules have been searched in it, and then the obtained knowledge has been used to recognize human behaviors from the perspective of Deleuze's philosophy. Based on the analytical-descriptive method with Deleuze's approach, thus can be said that the performance of conquest as an artistic event provides for the audience, the opportunity to live in the moment, and since it is not a complete action. It is his empiricism, so it makes no sense to make an aesthetic judgment about it. The audience's reaction to the effect is bodily, and the audience, of the body-machine, by connecting to tools and people in the moment, forms a unique machine that also has special potentials, and the choice of the audience(s), Directs the course of the event; Therefore, the performance space has been created in the moment and it has a random orientation based on the Rhizome.
