تأویل تبارشناسانه خاستگاه آیینی هنر نمایش (با تأکید بر تشابه یابی مؤلفه های نمایش و رقص با سماچه)
آرشیو
چکیده
یکی از جالب توجه ترین مباحث تاریخ هنر، نظریه های در مورد پیدایش یک پدیده تا تبدیل شدن آن پدیده به شکل قابل تعریف و پذیرش در قالب یک هنر خاص مطلق است. در این تحول شناسایی، خاستگاه، عوامل و عناصر مؤثر در شکل گیری آن هنر بسیار حائز اهمیت است. تبارشناختی هنر نمایش هم در همین زمره است. «نمایش» به مثابه یک هنر مقوله ای جهان شمول و «نمایش دادن» یک پدیده بسیار کهن نزد انسان هاست. امروزه نمایش به عنوان یک متن هنری برساخت انسانی، جایگاه ویژه ای را در تاریخ هنر دارد. مقاله حاضر با شیوه توصیفی_تحلیلی و تشابه یابی قیاسی سعی دارد که: ضمن بازشناخت «نمایش» به عنوان یک پدیده تاریخی_اجتماعی و اعتقادی_هنری، بخش های مغفول و مفقود مانده از تاریخ مطالعات این هنر در گذشته اش را بازکاود و هم نقش آنها در ایجاد و شکل گیری حرکات آئینی_نمایشی و سنت های نمایشی بعدی هنر نمایش را تأویل کند. روش جستار پیش رو تحلیلی_تأویلی و رویکرد اتخاذی تاریخی است. این پژوهش از نوع کیفی شناخته می شود، که با بهره مندی از داده های اسنادی کتابخانه ای به نگارش درآمده است. سؤال اساسی جستار حاضر این است که خاستگاه بنیادین هنر نمایش چیست؟ نتیجه نهایی جستار نظریه پرداز کنونی آن خواهد بود که با مطالعه دقیق ترِ مبانی نظری و نظریه های خاستگاهی پیشین در مورد «نمایش» به نظریه آشکار از منشأ آن هنر، «نظریه خاستگاهی هنر نمایش از رقص های با سماچه»، دست یازد.Genealogical Interpretation of the Ritual Origin of the Art of Performance (With emphasis on similarity of performance and dance components with sammacheh)
Phenomenological research studies have been conducted to uncover the true origins of the performing arts. In a macro sense, the performing arts are recognized as a human phenomenon. Similarly, studying genealogy also involves analyzing different human-social contexts and, as a result, examining the historical-cultural themes connected to this phenomenon throughout its history. Every artistic phenomenon has a past without which it is impossible to reach its origin. On the other hand, Studies in art history show that no art has suddenly become the art of today, and To grasp the core of an artistic phenomenon, one must delve into its related past. Performing arts can be considered as one of the oldest and newest arts. The universal scope of the performing arts is undeniable. Every universal phenomenon entails a multiplicity of theories, and the theories of the origin of the performing arts are no exception to this rule. Various opinions and theories about this art and its origins have been recorded and preserved from centuries BC to the present day. According to the writings of the same documents, it has been concluded that the history of that art will go back to prehistoric and prehistoric phenomena. One of the most interesting topics in the history of art is theories about the emergence of a phenomenon until that phenomenon becomes definable and acceptable as a special—absolute - art. In this evolution of identification, origins, factors, and elements influencing the formation of that art are very important. The genealogy of the performing arts is in the same category. “Performance” as a universal art category and “representation” is a very ancient phenomenon in humans. Today, the play has a special place in the history of art as an artistic text made by humans. The present article tries with descriptive-analytical method and deductive analogy to Recognize the “play” as a historical-social and doctrinal-artistic phenomenon, it explores the neglected and missing parts of the history of the study of this art in its past. And to interpret their role in the creation and formation of ritual-theatrical movements and subsequent theatrical traditions. History gives a play that is constantly changing. This study aims to compare the origins of performance and dance with Samaacheh to identify Samaacheh dance as the root of performing arts, highlighting prehistoric performing arts phenomena. The research method is qualitative-interpretive, and documentary data with a historical, genealogical approach has been used for writing. The main query of this paper is what is the basic source of the performing arts? The result of the current theorist’s quest will be to reach an explicit theory of the origin of that art by a closer study of the previous theoretical foundations and theories of the origin of “representation”: “The Origin Theory of Performing Arts, from Dance with Samaacheh”.
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