تماشاگری، سلطه و امکان تئاتر سیاسی: خوانشی پدیدارشناختی با تکیه بر اندیشه رانسیر
آرشیو
چکیده
این مقاله امکان تحقق آگاهیِ رهایی بخش در تئاتر را از منظر پدیدارشناسی و با تمرکز بر مفاهیم «حضور» و «بدن مندی» در موقعیت تئاتری بررسی می کند. مسئله پژوهش از این پرسش برمی خیزد که: تئاتر به مثابه رخدادی مبتنی بر تفکیک ساختاری میان اجراکننده و تماشاگر، چگونه می تواند شرایط تجربه ای برابری خواهانه و رهایی بخش را فراهم کند؟ فرض اصلی پژوهش بر این مبنا صورت بندی می شود که تثبیت جایگاه تماشاگر، نه صرفاً به عنوان یک نقش کارکردی، بلکه به منزله موقعیتی پدیدارشناختی، هم زمان به بازتولید مناسباتی سلطه مند منجر می شود و امکان تجربه ای مبتنی بر حضور متقابل و تعامل بدن مند را محدود می سازد. در این راستا، مقاله با اتکا به سنت پدیدارشناسی به ویژه مفاهیم «در-جهان-بودن»، «بدن زیسته» و تقدم ادراک بر بازنمایی چارچوبی نظری برای تحلیل وضعیت تئاتری فراهم می آورد. به منظور تبیین سویه های اجتماعی سیاسی این وضعیت، از زیبایی شناسی سیاسی رانسیر به عنوان قرائتی برآمده از منطق ادراک و توزیع امر محسوس استفاده می شود، بی آنکه تقدم چارچوب پدیدارشناختی مخدوش گردد. روش پژوهش توصیفی تحلیلی و مبتنی بر مطالعه کتابخانه ای است و از طریق تحلیل انتقادیِ دستاوردهای نظری و اجرایی برشت و آگوستو بوآل، به عنوان دو نمونه شاخص تئاتر عدالت محور، بسط می یابد. یافته های پژوهش نشان می دهد که حتی در رادیکال ترین تلاش ها برای فعال سازی مخاطب، موقعیت تئاتری همچنان بر اساس منطق جداسازی، هدایت ادراک و تثبیت نقش ها سامان می یابد؛ امری که با تجربه پدیدارشناختیِ حضور و کنش برابری خواهانه در تعارض است. بر این اساس، مقاله نتیجه می گیرد که تئاتر سیاسی، نه از حیث محتوا، بلکه به اعتبار صورت بندی پدیدارشناختیِ خود، واجد نوعی تناقض درونی است.Spectatorship, Domination, and the Possibility of Political Theatre: A Phenomenological Reading Grounded in Rancière’s Thought
Introduction: An abstract is a brief yet comprehensive summary of a scholarly work, often serving as the primary point of contact between a reader and an academic text. In the context of theatre studies, and particularly political theatre, the abstract plays a crucial role in clarifying not only the thematic concerns of a study but also its theoretical orientation and methodological grounding. This addresses the possibility of emancipatory awareness in theatre by shifting the analytical focus from ideological content and declared political intentions to the experiential and phenomenological conditions that constitute the theatrical situation itself. Political theatre has traditionally been evaluated according to its subject matter, critical discourse, or explicit opposition to dominant power structures. However, such approaches often overlook a more fundamental question: how does theatre, as a lived and embodied situation grounded in a structural separation between performers and spectators, shape the conditions of perception, participation, and action? This study argues that the position of the spectator should not be understood merely as a functional or institutional role but as a phenomenological situation in which modes of seeing, hearing, and responding are pre-organized. From this perspective, theatre reproduces relations of domination not primarily through content but through the very configuration of experience it establishes. Drawing on phenomenology-particularly the concepts of being-in-the-world, lived body, and the primacy of perception over representation-the article develops a framework for analyzing theatre as an embodied mode of experience. To articulate the political implications of this experiential framework, Jacques Rancière’s political aesthetics is employed as a complementary perspective. Rancière’s notion of the “distribution of the sensible” enables a social and political reading of perception without displacing the phenomenological grounding of the analysis. The central research question guiding this study is whether theatre, while maintaining its institutional and experiential structure, can genuinely provide the conditions for reciprocal presence, equality, and emancipatory action. Methods: The study adopts a qualitative, descriptive-analytical methodology grounded in theoretical inquiry and critical interpretation. Rather than relying on empirical or field-based data, the research focuses on conceptual analysis of philosophical texts and canonical theatrical theories. Phenomenology, particularly in the work of Maurice Merleau-Ponty, constitutes the primary theoretical framework for examining embodied experience, perception, and presence within the theatrical situation. This framework is complemented by Jacques Rancière’s political aesthetics, which provides a socio-political translation of perceptual organization and experiential hierarchy. The analytical procedure involves a close reading and critical interpretation of two paradigmatic models of justice-oriented theatre: Bertolt Brecht’s epic theatre and Augusto Boal’s Theatre of the Oppressed. These cases were selected due to their central position in the history of political theatre and their explicit claims regarding audience activation, awareness, and emancipation. The analysis examines the relationship between theoretical claims, performative strategies, and the phenomenological configuration of experience produced by each model. By situating these theatrical practices within a shared phenomenological horizon, the study seeks to reveal the structural conditions that both enable and limit emancipatory possibilities in theatre. Results: The analysis demonstrates that despite their divergent strategies and historical contexts, both Brecht’s and Boal’s theatrical models encounter a shared structural limitation at the level of experience. In Brecht’s epic theatre, techniques such as alienation and critical distance are designed to
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