بررسی رابطه متقابل انسان و شهر به مثابه رابطه عروسک و عروسک گردان با تکیه بر نظریات نوین پیرامون ماهیت عروسک (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
تئاتر عروسکی معاصر به یکی از غنی ترین و چندوجهی ترین فرم های هنری تبدیل شده است و در نظریه و عمل نوعی دگردیسی را تجربه می کند. بر اساس تئوری های نوین در تئاتر عروسکی، عروسک دیگر به عنوان یک شئ ثابت و معین تعریف نمی شود و می تواند حاصل نوعی تعامل و ارتعاش باشد. بر همین اساس، پرسش «عروسک چیست؟» جای خود را به پرسش «عروسک کجاست؟» می دهد و ایده هایی چون «عروسک بی جسم»، «حرکت دهی بی حرکت» و «لحظه عروسکی» توسط افرادی مانند کلودیا اورنشتاین و جولی پستل مطرح می شود. مقاله حاضر پیرامون این ایده ها و آرای این دو صاحب نظر تئاتر عروسکی شکل گرفته است. در این نگاه تازه به تئاتر عروسکی، مخاطب و فرایند تماشا، جایگاهی اساسی در تعیین ماهیت و معنای عروسک پیدا می کنند. با توجه به این رویکرد، عرصه حیات عروسک و تئاتر عروسکی به «صحنه» هایی فراتر از صحنه تئاتر کشیده می شود. شهر یکی از این صحنه هاست. شهر به عنوان یک بستر «اجرایی» و «تئاتریکال» دارای ظرفیت های فراوانی است و در زندگی روزمره بر اثر تعامل شهروندان و مکان های شهری، اجراهای مختلفی در شهر شکل می گیرد. در پژوهش حاضر پس از بررسی تعاریف نوین تئاتر عروسکی، مشخص می شود رابطه انسان با شهر نسبتی آشکار و قابل توجه با رابطه عروسک و عروسک گردان دارد. خیابان، میدان، اتوبوس، ورزشگاه و مراکز تجاری ازجمله مکان های شهریِ آکنده از اجراهای عروسکی هستند و تلاش نگارندگان در پژوهش حاضر بر آن بوده است تا روایتی از این اجراها را به ثبت برسانند. این اجراهای عروسکی، بازتاب دهنده گفتمان های شهری و تعاملات انسانی اند. در اینجا انسان شهری به عروسکی معاصر تبدیل می شود که هویت خود را در تنش میان اشیاء، مکان ها و سایر حضورهای انسانی به دست می آورد.Investigating the Interrelationship between Human and the Urban Space as a Relationship between Puppet and Puppeteer Relying on new theories about the nature of the Puppet
Contemporary Puppet Theater has evolved into one of the richest, most complex, and multifaceted art forms, undergoing a significant transformation both in theory and practice. According to modern and innovative theories in puppet theater, the puppet is no longer defined simply as a fixed and determinate object; instead, it is increasingly understood as the dynamic result of an interaction, vibration, or even a network of relationships. Consequently, the fundamental question “What is a puppet?” has shifted to “Where is the puppet?”, and radical concepts such as the “disembodied puppet,” “motionless manipulation,” and the “puppet moment” have been introduced by theorists like Claudia Orenstein and Julie Postel. This article is centered around these novel ideas and the views of these two prominent figures in the field of contemporary puppet theater. In this renewed perspective on puppet theater, the audience's role and the spectatorship process become crucial in determining the puppet's essence, meaning, and identity. According to this emerging approach, puppet life and the space of puppet theater expands to include ‘stages’ that go far beyond the traditional theater venue. The city, for instance, becomes one of these new performative stages. The city, as a performative and theatrical medium, holds vast, untapped potential, and through the everyday interactions between citizens and urban spaces, various types of spontaneous and intentional performances are created within the urban environment. Through a thorough exploration of contemporary definitions of puppet theater, this study reveals a striking and explicit correlation between human relationships with the city and the dynamic relationship between puppets and puppeteers. Streets, public squares, buses, stadiums, and shopping centers are among the many urban spaces filled with unrecognized puppet-like performances, and the authors of this study have endeavored to document and analyze a narrative of these emerging urban performances. These urban puppet performances, whether conscious or unconscious, reflect the complex discourses of the city and the intricate nature of human interactions. In this context, the modern urban individual is symbolically transformed into a contemporary puppet, finding and negotiating their identity within the ongoing tensions between objects, places, other individuals, and social structures.In this renewed perspective on puppet theater, the role of the audience and the process of spectatorship become crucial in determining the essence, meaning, and identity of the puppet. According to this emerging approach, the domain of puppet life and the very space of puppet theater expands to include 'stages' that go far beyond the traditional theater venue. The city, for instance, becomes one of these new performative stages. The city, as a performative and theatrical medium, holds vast, untapped potential, and through the everyday interactions between citizens and urban spaces, various types of spontaneous and intentional performances are created within the urban environment. Through a thorough exploration of contemporary definitions of puppet theater, this study reveals a striking and explicit correlation between human relationships with the city and the dynamic relationship between puppets and puppeteers. Streets, public squares, buses, stadiums, and shopping centers are among the many urban spaces filled with unrecognized puppet-like performances, and the authors of this study have endeavored to document and analyze a narrative of these emerging urban performances.These urban puppet performances, whether conscious or unconscious, reflect the complex discourses of the city and the intricate nature of human interactions. In this context, the modern urban individual is symbolically transformed into a contemporary puppet, finding and negotiating their identity within the ongoing tensions between objects, places, other individuals, and social structures.
تبلیغات
