چکیده:
تماشاگر همواره برای فهم و دریافت اثر باید موفق به برقرارکردن ارتباط با آن شود تا اثر را حرکات یا الفاظی تهی و خالی از معنا نپندارد. در این فرایند، تماشاگر آگاهانه یا ناآگاهانه مراحلی را در ذهن خویش میگذراند. در این میان، فلسفة پدیدارشناسی با مرکز توجه قراردادن ذهن آدمی و نقش آن در دریافت پدیدهها حائز اهمیت است. مقصود از این جستار بررسی روند درک و دریافت مخاطب در «نمایش عروسکی» است، اما این مسیر در مقایسه با «تئاتر بازیگر» انجام خواهد شد. در این راه، با بهرهگیری از روش ادموند هوسرلـ در تقلیل پدیدهها و عزلکردن پیشداوریهای ممکن دربارة پدیدارها برای رسیدن به عمق آنهاـ سرانجام، عروسک از یک شیء بیجان تا مرتبة بازیگر و سپس باور شخصیتش پیش میرود. این اتفاق تأثیر مستقیم بر درک و دریافت مخاطب دارد و ذهن او را به پُرکردن خلأهایی وادار میکند که بسیار بیش از خلأهایی است که او هنگام تماشای «تئاتر بازیگر» با آن روبهروست، زیرا عروسک، بهمنزلة پدیداری تئاتری، مسیری طولانیتر از بازیگر را طی میکند تا به دریافت مخاطب برسد. در این پژوهش به روش توصیفی- تحلیلی و مبتنی بر منابع کتابخانهای به شرح دلایل آن پرداخته شده است.
The audience has always played a particular role in the history of theater and the quality of interaction between the audience and the performance has determined the success or failure of the performance. One of the most fundamental elements of theater is the audience that attends the performance and contributes to the reshaping of its destiny. Each performance inescapably has gaps in the presentation of its pictures and concepts. In the end، it becomes the spectator who has the duty of completing the performance in his/her mind and believe in them. Focusing on the delicate interaction between the performance and the audience’s reception has vital significance. If the audience fails to comprehend even a small and insignificant part of the performance، this interaction will be a failure، as well. Since the ages of Plato and Aristotle until the present century، the whole attention of theorists and critics has exclusively been directed towards the artist. Nevertheless، starting from this century، they started to concentrate on the audience and to pay a closer attention to the audience’s role in the performance. Since then، theorists have begun to draw some cycles in which there was no longer a passive audience and incidentally activities of perceiving and understanding the work of art have completed the artist's work. One of the major expressions of this attention has been the phenomenological theory of Edmund Husserl. Phenomenology seeks to achieve the true essence of phenomena through themselves. This key sentence is the beginning of our research ahead. Husserl removes the surface layers of phenomena، within a method that is known as the “archaeological method”، in order to reach more profound levels of understanding in their inner expression and this is what the theater aims to do: Going into the depths of what the audience will perceive from a dramatic performance. The theater intends to take its audience into the deepest layers of meaning. For this purpose، it uses any possible means، such as actors، puppets، or even objects. The ultimate purpose of this research is to investigate the audience's perception of "Puppet Theater". However، this result will be obtained by making a comparison between the "puppets" and the "theater actors". We will use Edmund Husserl’s method known in the literature as the reduction of phenomena and the removal of prejudices towards them. The findings of the research will convert the puppet from a lifeless object into an actor and consequently into a credible character. This conversion has a direct impact upon the perception of audience and it makes the audience’s mind fill the gaps، which are encountered during the performance. These gaps are much wider in the puppet theater than in the ordinary theater with actors and the audience obviously has to act more in it. The reason for this difference is caused by that the puppet as a theatrical phenomenon has to bring together a wider gap than the actor in order to be perceived by the audience as a theatrical character.