ساختار و كاركرد روايي صحنه‌هاي ترانه در انيميشن‌هاي بلند ديزني

Narrative Structure and Functions of Song Scenes in Disney Animated Feature Films

در بسياري از انيميشن‌هاي بلند ديزني يك يا چند ترانه اجرا مي‌شود كه در نگاه نخست، نقش سرگرم‏ كنندگي در روايت اصلي دارند. اين مقاله بر آن است كه نشان دهد ترانه‌‌ها كاركردي فراتر از ميان‌پرده يا حتي انتقال صرف اطلاعات دارند. پرسش اصلي مقاله اين است كه «در صحنه‌هاي ترانه، چه گسست‌هايي از اسلوب و قواعد حاكم بر صحنه‌هاي ديگر رخ مي‌دهد؟». در پاسخ به اين پرسش نشان داده مي‌شود كه صحنه‌هاي ترانه تا اندازه‏ اي از الگوها و قوانين واقع‌گرايانه‏ ي ديگر صحنه‌ها فاصله مي‌گيرند و تمهيدات و رخدادهايي كه در صحنه‏ هاي غير ترانه، ناملموس، تصنعي و ناپذيرفتني مي‌نمودند، با نوعي آزادي نسبي، به كار مي‌روند. پرسش دوم اين است كه «گسست‌ها چه امكاناتي براي روايتگري به وجود مي‌آورند؟». پژوهش حاضر نشان مي‌دهد كه ترانه‌ها تا چه اندازه در شكل‌گيري ساختار روايي فيلم نقش دارند. در نهايت، تلاش مي‌شود ارتباط صحنه‌هاي ترانه با ساختار روايي فيلم بررسي شده و نشان داده شود كه اين صحنه‌ها به شكلي عميق و گسترده، با روايتگري فيلم پيوند خورده‌اند.

In this essay, narrative functions and structural designation of song and dance scenes in Disney feature animations are studied. Most of Disney feature animations contain more than one song and/or dance scene. On the surface, these scenes are merely intermissions, devised to entertain the spectator. Some scratch the surface and point their capability to give information about characters or settings. But this essay tries to show that song and dance scenes do much more and are heavily interconnected with narrative structure of the film. The first question is: what deviations do song/dance scenes have from ordinary realism and narrative rules of “ordinary scenes”? It is argued that song/dance scenes have some relative freedom from causality and ordinary realism, ruling ordinary (which here means non song/dance) scenes. Song/dance scenes violate the rules of realism, governing other scenes and most other genres. Characters dance and sing for the benefit of camera, instead of any character in the film and the nondiegetic music accompanies their performance. Sometimes a person cries out his inner secrets and desires loud in a song and in the end it’s like no one has ever noticed. The story/discourse time and space relationship, causality and story logic can be different in such scenes. Also the visual style can change. After examining the main deviations, the second and main question is taken into account: what narrative capabilities and special functions do these deviations prepare for the song/dance scenes in Disney feature animations? In other words, how do song and dance scenes shape the narrative structure of films, and how could special features of such scenes contribute to the narration? having a structural narratological point of view, it is shown that these scenes have functions like explicit presentation of story information, as character traits and settings or the theme of story; more freely integration of gags, jokes and visual and metaphorical creativities in the film; intuitive expression of characters inner feelings. Also it is shown that these scenes deeply contribute to the narrative structure of the films. They change narrative temporal pattern by adding summaries and halts between scenes, take part in resemblance of particular events or existents. Most of all, song and dance scenes are less likely to induce less suspense and surprise in the viewer. They are meant for existents more than events. Songs usually talk about how a character is, or feels about something, instead of worrying about what happened to him/her. A considerable number of songs are representing characters, their inner feelings, goals, fears, or even places they live in. This changes the overall structure of narrative. Because with song and dance, instead of a chain of events, we have portraits of characters. Having these at hand, it is concluded that song/dance scenes are closely interconnected with the narrative structure of Disney animated feature films. Since these scenes have critical functions in narrative, they can’t be considered arbitrary or just intermissions. This means they can’t be separated from thefilm without altering the narrative.