واکاوی نقش مخاطب در شکل گیری رسه بر بنیان متون کهن هندی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نمایش های کهن و سنتی هندی، اجراهایی آیینی هستند که با هدف ایجاد رسه در مخاطب شکل می گیرند. جایگاه این اجراها در نظام تفکری هندوستان از چنان اهمیتی برخوردار است که کتب خاصی به بسط روند شکل گیری نمایش و اجزای یک اجرا چون ادوات صحنه، دکور، موسیقی، روایت، نحوه اجرای بازیگر و حتی چگونگی مواجه مخاطب با نمایش پرداخته اند. ازآنجایی که هدف از امر اجرا در جامعه برآمده از سنت چیزی بیشتر از لذت زیبایی شناسانه است، این مقاله در نظر دارد با هدف شناخت عمیق تر نسبت به نحوه ادراک پذیری نمایش، نقش مخاطب در ایجاد رسه را به عنوان اصل اساسی در نمایش مدنظر قرار داده و به این پرسش پاسخ دهد که چه نسبتی میان مخاطب و ایجاد رسه وجود دارد؟ این تحقیق از نوع کیفی و به شیوه توصیفی-تحلیلی صورت پذیرفته و روش گردآوری اطلاعات در آن از طریق مراجعه به منابع کتابخانه ای و اسناد دست اول هندی است. نتایج تحقیق بیانگر آن است که در نمایش آیینی هند، مخاطب صرفاً به عنوان بیننده نمایش نیست، بلکه حضوری فعال در اجرای نمایش دارد. ازآنجایی که تفکر سنت بر بنیان اصل کل گرایی است، در پروسه اجرای نمایش لحظاتی فرامی رسد که میان بازیگر و مخاطب، تفکیک دقیقی وجود ندارد. درواقع در جریان اجرا، کنش مخاطب می تواند در پی کنش بازیگر قرار گرفته و موجب برانگیختن احساسات در بازیگر نیز شود. از این رو ایجاد و تداوم رسه صرفاً وابسته به روایت، ادوات صحنه و بازیگر نیست، بلکه با کنش مخاطب به عنوان مشارکت کننده ای فعال ارتباطی مستقیم دارد.Analyzing the Role of the Audience in the Formation of Rasa based on Ancient Indian Texts
Ancient and traditional Indian performances are ritualistic enactments designed to evoke rasa in the audience. The significance of these performances within the Indian philosophical framework is so profound that dedicated texts have been written to elaborate on the formation process of these performances and their constituent elements, including stage props, set design, music, narrative structure, acting techniques, and even the audience’s engagement with the performance. Given that the purpose of performance in traditional societies extends beyond mere aesthetic enjoyment, this article aims to explore the audience’s role in the creation of rasa as a central principle of performance. It seeks to address the question: what is the relationship between the audience and the generation of rasa? This qualitative study employs a descriptive-analytical approach, with data collected from library sources and primary Indian texts. The findings indicate that in Indian ritualistic performances, the audience is not merely a passive spectator but an active participant in the enactment. Rooted in the holistic perspective of traditional thought, these performances often dissolve the clear distinction between actor and audience during certain moments. The audience’s actions during the performance can influence the actors’ emotions, creating a reciprocal dynamic. Consequently, the generation and perpetuation of rasa depend not only on the narrative, stage elements, and actors but also on the active engagement of the audience as a co-creator in the performance process.This qualitative study employs a descriptive-analytical approach, with data collected from library sources and primary Indian texts. The findings indicate that in Indian ritualistic performances, the audience is not merely a passive spectator but an active participant in the enactment. Rooted in the holistic perspective of traditional thought, these performances often dissolve the clear distinction between actor and audience during certain moments. In fact, the audience's actions during the performance can influence the actors’ emotions, creating a reciprocal dynamic. Consequently, the generation and perpetuation of rasa depend not only on the narrative, stage elements, and actors but also on the active engagement of the audience as a co-creator in the performance process.Although the emergence of Rasa depends on various factors, including the tools of performance, narrative, actors, and audience, it is not merely an individual or subjective phenomenon. Rather, it is a collective and participatory experience, wherein all participants contribute to its emergence and continuity. The fullest realization of Rasa lies in this collaboration, harmony, and the collective energy it generates.Thus, ritualistic theater in India transcends mere performance or theatricality; it resembles a grand celebration where dance, music, revelry, feasting, and other elements converge in an act akin to worship. Together, they evoke a heightened emotional state that paves the way for the divine to manifest in the earthly realm, allowing the transcendental (Alaukika) to become tangible, and enabling Rasa to emerge fully.In earlier times, when adherence to rituals was more profound, these ritualistic performances were expansive festivals that spanned several days or weeks. Within these multifaceted ceremonies, the joy and active participation of the audience were not only integral but also served as essential components, completing the ritual experience.
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