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نقش اشیل در شکل‌گیری و ارتقاء طراحی صحنه تئاتر یونان باستان از یک نمایشنامه‌نویس تا یک صحنه‌پرداز حرفه‌ای | ||
| نشریه هنرهای زیبا: هنرهای نمایشی و موسیقی | ||
| مقاله 5، دوره 25، شماره 1، فروردین 1399، صفحه 41-50 اصل مقاله (7.35 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22059/jfadram.2020.271916.615274 | ||
| نویسنده | ||
| پیام فروتن یکتا* | ||
| عضو هیئت علمی دانشکده هنرهای نمایشی و موسیقی پردیس هنرهای زیبا دانشگاه تهران | ||
| چکیده | ||
| در عرصه پژوهش تئاتر یونان، کمتر تحقیقی درباره چگونگی طراحی صحنه این آثار انجام شده است. با بررسی نمایشنامههای یونانی، مکانهای اجرا، منابع موجود و کشفیات جدید باستانشناسی، میتوان به نتایج مهمی در این زمینه دست یافت؛ نتایجی که چهره برخی از بزرگان تئاتر یونان را متحول میسازد. اگرچه بسیاری از محققان تئاتر، اشیل را تنها به عنوان یک تراژدینویس میشناسند؛ اما او نوآوریهای متعددی در اجرای نمایشهای خود نیز داشته است. با بررسی نوآوریها و دستور صحنههای نمایشنامههای اشیل، به یک پرسش بنیادین میرسیم. آیا نمیتوان از او به عنوان یکی از نخستین طراحان صحنه تئاتر یاد کرد؟ در جایی که دستور صحنههای اشیل از پیچیدگیهای صحنهپردازیهای او پرده برمیدارند. این نوشتار تلاش دارد تا به واسطه پژوهش در نمایشنامههای اشیل و منابع پیرامون وی، به نقش او در ارتقای طراحی صحنه تئاتر پی ببرد. مقاله حاضر کوشش کرده تا ضمن تاکید بر اهمیت اشیل در عرصه نمایشنامه نویسی، چهره جدیدی از وی به نمایش بگذارد. چهرهای که نشان میدهد اشیل علاوه بر نگارش نمایشنامه، طراح صحنه چیرهدستی نیز بوده و با این عرصه آشنایی کامل داشته است. در این پژوهش بنیادی با استفاده از منابع کتابخانهای از روش تحلیلی و تاریخی استفاده شده است. | ||
| کلیدواژه‌ها | ||
| اشیل؛ طراحی صحنه؛ تئاتر یونان باستان؛ نقاشی صحنه؛ دستور صحنه؛ اجرا | ||
| عنوان مقاله [English] | ||
| Aeschylus’ Role in Formation and Promotion of the Ancient Greek Scenic design From a Playwright to a Professional Scenographer | ||
| نویسندگان [English] | ||
| Payam Foroutan Yekta | ||
| چکیده [English] | ||
| If we consider the concept of ritual ceremonies and festivals throughout the history of theatre, the birth and core of all productions begins with ancient Greece and Aegean civilizations and the influential number of tragedies and comedies, such as the plays of Euripides, Aeschylus, Sophocles and Aristophanes and others, which have come to us from that time. There have been many continuous studies on Greek theater, ritual ceremonies, myths, Philosophy and so on; however previous studies focused more on the content, concepts, structures and philosophy of Greek plays while fewer studies have been conducted and focused on the modality of the scenic designs of these works. For example, construction of stage, styles of stage design, the painting of Pinakes (flats) and Priaktoi (Three dimensional volumes and prisms used on the stage), the most famous of stage designers and painter of scenes. Because of the nature of set designs and theatrical scenery which with the completion of each show is dismantled, there are limited written and visual resources and documentations in this field. However, by investigating the plays production venues, available limited resources and new discoveries of archeological sites, we can reach discern significant and relevant results in this regard. Aeschylus was considered as one of the greatest ancient Greek playwrights as a poet who according to many scholars was the first tragedy writer in the history of the theater. Many scholars of theater have known Aeschylus only as a tragedy writer even though he is credited with several innovations in regards to directing and dictating complete details in his plays. Increasing the number of actors from one person to two, reducing the importance of the singers’ presence in the plays and bringing up dialogs between actors are considered totally as Aeschylus’ innovations. However, by checking the scenes of his plays and paying attention to the fact that Aeschylus draws his own plays on stage, perhaps he could be considered one of the first scenic designers in theater history. Whereas in ancient Greece there was no scene designer and the artist was known as the scene painter. This study tries to explore Aeschylus’ role in the development and promotion of the ancient Greek theater design via review and research of his plays and written references around him and Greek theater; a known form of scenery that continued alongside the Classic and Hellenic architecture for centuries and its structures and systems continued up to the Renaissance and even centuries later. In this study, several articles and books written in this field have been applied and identify Aeschylus in the scenery of the Greek theater as one of the first scene writers for theater history, while studying the role of and attempting to emphasize his importance in regards to play writing and introducing a new face to his audiences. In this research, historical and analytical methods have been used to direct us to the magnificent of the Ancient Greeks and the continuous credit and influence that they continue to have on modern theatre. | ||
| کلیدواژه‌ها [English] | ||
| Aeschylus, Scenic Design, Ancient Greek Theater, Scene Painting, Performance | ||
| مراجع | ||
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ارسطو (1343)، فن شعر، ترجمه دکتر عبدالحسین زرین کوب، (چاپ دوم)، بنگاه ترجمه و نشر کتاب، تهران. براکت، اسکار گروس (1396)، تاریخ تئاتر جهان، ترجمه هوشنگ آزادی ور، جلد اول، چاپ نهم، انتشارات مروارید، تهران. کوثری، عبدالله (1396)، آیسخلوس، مجموعه آثار، (چاپ پنجم)، نشر نی، تهران. Brocket, Oscar G; Mitchell, Margaret & Hardberger, Linda (2012), Making the Scene, A History of Stage Design and Technology in Europe and the United States, Tobin Theatre Arts Fund, Second Printing, Texas.
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Mcdonald Cheyenne (2017), Ancient Greek Theatres Used Movable Stage on Stone Tracks to Swap Scenes and even Hold Dressing Rooms for Actors, Dailymail.com, 00:04 BST, 12 July 2017, Update: 04:37 BST, 12 July 2017.
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Sommerstein, Alan H (2010), Aeschylean Tragedy, “Aeschylus’ Theatre: The performing space, Performers and properties and the spectators” and “The Prometheus Plays.” Duckworth Publishing, London, UK. 17-31 and 213-218.
Spindler, Alexander J (2015), the Art of the Stage Machinist: A Dramatic Reconstruction of Aeschylus’ Linear Tragedy, Prometheus Bound, Xavier University – Cincinnati.
Storey, Ian C & Allan, Arlene (2005), A Guide to Ancient Greek Drama, “The Theatrical
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www.theoi.com
www.mfa.org
www.furian.at
www.dailymail.co.uk | ||
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