كليدواژه :
تقليد , نمايش شادي آور ايران , جامعة ايراني , شبيه خواني , تعزيه , نظرية بازتاب
چكيده فارسي :
با نگاهي به مسير شكل گيري نمايش در كشورهاي شرقي ، درمي يابيم كه نه تنها فاصله اي ميان آ نها و زندگي جاري مردمان نبوده بلكه نمايش مرحله يا بخش مهمي از زندگي ساكنان شرق را مي ساخته است. در اين نوشته، دو گونه مهم نمايش ايراني، از منظر جامعه شناسي، بررسي شده است؛ «شبيه خواني » بر بستري از رويدادهاي اجتماعي و سياسي جامعه ايراني پديدار شد و كمابيش همه دگرگوني هاي اجتماعي ايران در دوره هاي گوناگون نيز بدان راه يافت و دگرگوني هاي آن را در طول سده ها سبب شد؛ هما نگونه كه برخي ويژگي هاي شبيه خواني نقش مهمي در جامعه ايراني بر جاي گذاشت. «تقليد » نيز، اگرچه به هنگام شكل گيري چندان به جامعه سازنده اش وابسته نبود، تغييرات و دگرگوني هاي جامعه ايراني را در مسير تحولاتش پذيرفت؛ چنا نكه نقد اجتماعي از عناصر جدايي ناپذير تقليد شد. چارچوب نظري اين نوشته بر دو نظريه آشناي «بازتاب » و «شكل دهي » بنا شده، بي آنكه در محدوده آ نها باقي بماند. روش تحقيق نيز بر رويارويي تاريخ تحولات اجتماعي و تاريخ دگرگوني نمايش هاي سنتي ايران با بررسي هاي كتا بخانه اي و محيطي استوار شده است. نمايش هاي سنتي ايران به ضرور تهاي اجتماعي و در رابطه تنگاتنگ با تماشاگران پديد آمده است و حيات خود را فقط با بازتاب اكنون جامعه اش مي تواند بازيابد. نظريه هاي بازتاب و شكل دهي بيانگر آ ن اند كه نمايش هاي سنتي ايران هماره حلقه واسط و ارتبا طدهنده اين دو نظريه در اثر هنري يگانه اي بوده اند.
چكيده لاتين :
With a view to the formation Theatre in Eastern countries, we understand that not only people but also display the current distance between them and life stage, or has made an important part of life in East residents. In this study focuses on two important Iranian Theatre and metamorphosis from the perspective of sociology to more accurate picture of the relationship refers to interactive Theatre and community. By reflecting and shaping the theoretical framework based on the familiar theory; inadequacies remain in their range. and research on the social history of confrontation between Iran and Theatres the transformation of traditional Iranian history and environmental studies library is built.
Tazyeh, Iranian tragedy, underlying social and political events emerged in Iranian society and social events during the rise time of the obvious people, benefited. Iran virtually every social change in different periods and found their way into art throughout the centuries has led transformations Dec; as some features also play an important role in Iranian society left Dec.
Though much depends upon the formation of the Taghlid (Iranian comedy) of Iranian society, not the composer, changes and changes in Iranian society to track changes in their way; So that the duplication was an integral element of social criticism.
This Article focuses on the “Society and Ta'ziyeh” into three parts; Social context of Genesis Ta'zieh, Stability and Change & Modern society and the fate Ta'ziyeh.
In the first part we understand how Political activities and social could in a country torn, Suitable context to build a theater for Genesis.
Ta'zieh basic in Ale Booye formed, In the Safavi era was a strong and the period of Ghajar to achieve a coherent. It seems Ta'ziyeh supportive of the Safavi kings, was rather than social/political reasons, so religious. Support the Safavi kings, prepared ground for Fiction of Ashura events and Imam Hussain the stories and characters were based on common; He “Mrsyh_sorayy” (lyrics Mourn) the physical inventory process and understand that the strain was a mythical hero.
Rulers holding Taziyeh well, its objectives pursued; On the one hand the people showed their and on the other by pointing out the consequences of failure (apparent) caravan of Karbala and the stability of unjust rulers, People would avoid any possible movement.
It also has three parts “Taghlid (comedy) and the society sector”; the emergence of environmental and social change, Mashrooteh Movement; Landmark comedy and the society change & Imitation and social stalemate.
Iranian traditional Theatres of social needs and in close relationship with the audience of people from all social categories emerged that reflected the society can only recover your life. Reflecting and shaping theories show that the Iranian traditional plays always ring interface and connecting these two theories have a unique work of art.
Theatre of each period, Genesis is an accurate reflection of the social conditions of the period, at the same time, the first circle of actors shaping the community's future. The current population theater contemporary theater should arise; the exact knowledge of the audience and the society now. Command without any official in the interactive relationship, the broken relationships is fundamental.
