Abstract:
everyday is a daily repetition of a specific activity that is carried out in line with a goal outside of the human(self) being .everyday is the result of the technologization of man in the city, which has shaped new aspects of contemporary human life. contemporary man is known as a social activist in the struggle of this crisis and is no longer known not as man himself but as a systematic being in a structure. the present man is no longer known as what he is but as what he consumes in a perpetual anxiety. the following article examines such a human being, and from the perspective of philosophers jean baudrillard and henri lefebvre and theorists such as andy bennett, he reads such a human being to be known and his way of life in the first stage, and in the second stage he went to define the event in the play, putting the two definitions in front of each other. everyday man, by living in everyday life, shows a different shape and shape than what might give an event a heroic answer. such a man addresses the needs of everyday life and distances himself from the heroic order. events become meaningless, and at such a time a person loses the ability to change. this reading seemingly destroys the drama because if the character in the drama is indifferent to the event that was formed according to the assumed conditions in the drama, the knot will no longer be untied and before that the peak of the drama in the drama will not remain. everyday is the first thing that destroys this is the heroism that takes the stage as the main motivation of the character and wants to change the world of the show, but the daily life itself can sit in the place of the event and manifest itself as the main crisis of the play. darifo's play "day after day" has exactly the same icon. dariofo tries to portray his personality as an indifferent creature to crises such as a weak link between a man and a woman or a dysfunctional situation of social class and poverty. the woman in the play only seeks to get consent from her employer and takes it for granted with her stresses and anxieties. the mind is machine. he only pays attention to the clock and repeats the advertising slogans of the products he uses. he lives in the fast-growing technology clause every day, and he can no longer try to save or want to try. this man is no longer a sovereign and subordinate being of thought, but a complete picture of a meat robot to consume whatever is at hand. the following article shows how this condition eliminates the event and the other show character goes about his daily life without any heroic command.
Machine summary:
Banality and the Formation of Event in the Structure of Drama: A Study of the Play "Days of New" by Daryofov Mohammad Hossein Koodary, Mohammad Shokry 2, Minoo Khani Abstract Everyday life is a daily repetition of specific activities carried out toward a goal outside of the human self.
This view Capitalism creates a fundamental hole in Marx's theories of capital; in fact, workers and employees are no longer forced to work in mines for low wages, but rather wages are increased and purchasing power is given to them so that they can buy what they themselves have produced, and this connection guides the supply and demand from the purchase of life necessities to the purchase of fashion.
From Marx's perspective, very important social transformations have occurred due to the Industrial Revolution that has taken place from the mid-eighteenth century to the present; the lightning-fast onslaught of rural life toward urban life created a new form of relations and economy and forced workers to sell their labor power to capitalism; it dramatically overturned the nature of social relations.
According to Adorno and Horkheimer, the crux of the matter is that leisure and entertainment, despite their apparent everyday importance and meaning as spaces for liberation from work and ways to rest, are in practice effectively serving capitalist processes, because they also protect the common and repetitive patterns of professional life outside the workplace (ibid: 25).
(
, 
, 
)
