نوع مقاله : مقاله پژوهشی
نویسندگان
1 استادیار گروه آموزش زبان و ادبیات عربی، دانشگاه فرهنگیان، تهران، ایران.
2 استادیار گروه آموزش زبان و ادبیات فارسی، دانشگاه فرهنگیان، تهران، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The narrative of the play has become a significant topic within the study of narrative in recent years, particularly due to the efforts of contemporary theorists such as Anner Nuning and Brian Richardson. Simultaneously, the contemporary German scholar Monica Fludernik has made notable contributions by interpreting the narrative components of plays through concepts related to structuralist narrative theory. Her work has helped expand the understanding of drama based on contemporary theoretical frameworks. The present study aims to explore the narrative-analytical school of American comparative literature and Floznik's theory on the narrative structure of plays. It examines the narrative components of the plays “Game of Death” by Tawfiq Hakim and “Voice of Break” by Bahman Forsi. In this context, the study focuses on the key elements of Fludernik's theory, including the narrator, expressive patterns, character introduction methods, descriptive adjectives, permissible dramatic conventions, setting (place, space, and time), and the speech representation techniques that Fludernik identifies as narrative indicators. The results demonstrate the effectiveness of the Flood theory in the structural analysis of the play and clarify previously underexplored aspects. Both plays, centered on the search for truth, spiritual transformation, and the critique of social structures, portray the internal and external conflicts of human beings through characters with diverse perspectives. By employing symbolic elements of time and space (such as a palace and a desert) and modes of speech representation including dialogue, monologue, and metaphorical language, these works directly engage the audience with philosophical concepts. Ultimately, through their dramatic structures, Hakim and Farsi transform the narrative into a spiritual and philosophical experience that encourages reflection on truth, freedom, and life.
Introduction
Drama, as a genre of fiction, employs a narrative structure. Understanding this structure is crucial both for creating new dramatic works and for comprehending the underlying framework of existing dramas. The efforts of theorists such as Ansgar Nünning and Brian Richardson to extend narratology beyond traditional storytelling and apply it to drama align with this perspective.
Monika Fludernik followed a similar path, presenting her theory in the narratological analysis of dramas grounded in structuralist narratology. Her theory provides a foundation for a systematic examination of the narrative components within dramas. This research, based on Fludernik’s narrative analysis theory, investigates the narrative elements of the dramas *Game of Death* by Tawfiq Al Hakim and “Voice of Break” by Bahman Forsi. Through this approach, the components and indicators identified by Fludernik in the structures of “Game of Death” and “Voice of Break” can be measured, monitored, and evaluated in a practical and functional manner.
These components include the obvious narrator, expression patterns, methods of character introduction, descriptive adjectives, permission, performance location, space and time, and speech representation techniques. The dramas “Game of Death” and “Voice of Break” are considered among the most successful works of Tawfiq Al-Hakim. On one hand, they address social and political issues within society; on the other, they embody the characteristics of successful drama in their structure, making them suitable for stage performance. These works helped establish drama as an independent literary genre in Arabic literature.
In this drama, Tawfiq Al-Hakim incorporated distinctive features into its literary structure, which contributed to the plays “Game of Death” and “Voice of Break” becoming significant works. However, despite this, the textual features of this drama have not yet been thoroughly investigated or analyzed.
Method:
Examining this drama based on Fludernik's theory provides a background for the researcher by being able to examine and criticize the textual structure of the drama and its structural components and introduce its prominent narratological aspects to the reader. The current research emphasizes this and aims to identify and highlight these features introduced in Fludernik's theory in the drama.
Conclusion:
The dramas “Game of Deaths” and “Voice of Break” effectively employ dramatic structures such as time, space, speech representation methods, and characterization to convey philosophical and social concepts. These structures not only advance the storyline but also deepen the exploration of the characters' internal conflicts and thematic ideas. By utilizing these tools, Tawfiq Hakim transforms his narratives into spiritual and philosophical experiences that encourage the audience to reflect on truth, life, and freedom. Elements such as character introduction, descriptive adjectives, permissible actions, the setting, spatial and temporal context, and various methods of speech representation, identified by Fludernik as key indicators of narration, were analyzed in these dramas. The results demonstrate the effectiveness of Fludernik's theory in structurally analyzing the dramas and illuminating previously overlooked aspects.
Results:
In this drama, time is presented not as a linear or realistic progression but as a mental and psychological concept. It is often connected to the characters' perception of reality and life rather than the conventional passage of day and night. This philosophical use of time liberates the audience from real-time constraints, allowing them to immerse themselves in the drama's semantic structure. Similarly, space functions as a symbolic element. Various settings such as the palace, "al-Khala" (free space), and deserts symbolize the characters' psychological states and their conflicts with the surrounding world. Enclosed spaces like the palace represent the social restrictions and structures from which the characters seek freedom.
Space in “Game of Death,” in addition to providing a context for the advancement of dramatic events, also serves as a tool for explaining philosophical concepts and the evolution of characters. The various ways of representing speech in the drama, including dialogues, monologues, and metaphorical language, play an essential role in conveying ideas and advancing the story. These methods serve to reflect the thoughts, feelings, and inner conflicts of the characters. Dialogues and monologues in this drama directly inform the audience about what the characters are experiencing and the changes occurring within them. These techniques allow the author to clearly discuss complex concepts such as freedom, the pursuit of truth, and social restrictions. Additionally, metaphorical language is used as a tool to create rich and vivid imagery, conveying deep philosophical and social meanings to the audience while also crafting engaging settings.
کلیدواژهها [English]
عنوان مقاله [العربیة]
الدراسة السردیة لمسرحیة لعبة الموت لتوفیق الحکیم و صدای شکستن لبهمن فرسی وفقاً لنظریة مونیکا فلودیرنیک
چکیده [العربیة]تعتبر سرد المسرحیة أو الدراما من المواضیع التی دخلت فئة علم السرد فی السنوات الأخیرة، خاصّة مع جهود المنظرین المعاصرین مثل أنسجر نونینغ وبریان ریتشاردسون، وفی نفس الوقت الذی بذلت فیه هذه الجهود، بدأت عالمة السرد الألمانیة المعاصرة مونیکا فلودیرنیک محاولة ناجحة لتفسیر المکوّنات السردیة فی المسرحیات استناداً إلى المفاهیم المتعلّقة بعلم السرد البنیوی مما ساهم بشکل کبیر فی تطویر السرد فی المسرحیة وفقاً للنظریات المعاصرة. یهدف هذا البحث إلى دراسة المکوّنات السردیة لمسرحیة لعبة الموت للکاتب توفیق الحکیم و صدای شکستن لبهمن فُرسی فی مجال سرد المسرحیّة بطریقة وصفیّة تحلیلیة وبالاعتماد على المدرسة الأمریکیة فی الأدب المقارن ونظریة فلودیرنیک. فإنَّ أهمّ المؤشرات المقترحة فی نظریة فلودیرنیک هی الراوی الواضح، والأنماط التعبیریة، وطریقة تقدیم الشخصیّات، والصفات الوصفیّة، والمجاز، ومکان الأداء، والمکان والزمان، وأخیراً طرق التمثیل الکلامی التی یذکرها فلودیرنیک سرداً. وتمّ تحدید المؤشرات فی هذه المسرحیة وتحلیلها؛ وتظهر النتائج نجاح نظریة فلودیرنیک فی التحلیل البنیوی لهذه المسرحیة وتوضیح جوانبها التی لم تکن تحظى باهتمام کبیر من قبل. کِلتا المسرحیتین، المتمرکزتین حول البحث عن الحقیقة، والتحول الروحی، ونقد البنى الاجتماعیة، تصوّران الصراعات الداخلیة والخارجیة للإنسان من خلال شخصیات ذات وجهات نظر مختلفة. وهذه الأعمال، بالاستعانة بالزمان والمکان الرمزیین (کالقصر والصحراء) وأسالیب تمثیل الکلام کالحوار والمونولوج واللغة المجازیة، تُشرک المتلقی مباشرة فی المفاهیم الفلسفیة. وبشکل عام، یحوّل حکیم وفرسی، بفضل بناهما الدرامیة، السرد إلى تجربة روحیة وفلسفیة تتیح التأمل فی الحقیقة والحریة والحیاة.
کلیدواژهها [العربیة]
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