چکیده:
This study will survey the significance of theatre in the philosophy of the contemporary French philosopher, Alain Badiou. He is probably the only philosopher in the contemporary world who still regards philosophy as a search for truth. He first mentions four domains of science, politics, art, and love, which are, in a way, reminiscent of Plato’s divisions regarding human and the world. He claims then that truths are produced only in these four domains. As regards the art of theatre, he has theses and ideas unconventional and uncommon to the worlds of art and philosophy, whose understanding requires, to a great extent, an acquaintance, even though elementary, with the main concepts of his intellectual and philosophical system. For Badiou, the event of true theatre is a kind of collective and communal creative act which creates its own specific subject, and in each staging of the theatrical text, the inner idea of the text completes. Badiou believes that theatre thinks, and, even though it is to a great extent dependent on the state, it can and should try to reveal its limitations, to create its own theatrical subject, and to form a new change by creating something new. In the end, it must be noted that the starting point of this discussion is philosophy, and this essay proceeds from Badiou’s philosophy toward the art of theatre
خلاصه ماشینی:
The true event of theater, in Badiou's view, is a type of collective and communal creative action that brings forth its own specific subject, and with each performance of a theatrical text, the idea within the text is completed.
Being and multiplicity, one-countability operations, situation, event-prone field, infinite truth and its procedures, theatrical event, state/condition of situation, idea-theater, trace and body of the subject of the theatrical event Keywords: .
Concepts such as the understanding of being and philosophical situation,2 the concept of truth in contrast to meaning or the encyclopedia of situation,3 the key concept of event,4 the concept of the artistic/theatrical subject and its dual components, namely trace5 and body,6 and only after these explanations will we proceed to answer the question of what the theatrical event means within this intellectual apparatus and how it is possible to recognize true theater, which stands in opposition to other theaters.
This means there is no need, for example, for the God of religions, or Hegelian history 1, or the discourse 2 of Michel Foucault to perform this task; rather, this formulation is created from within the situation itself and with the help of 3 the subject, and in this way, it blocks the path to any kind of determinism and keeps the 4 choice of the subject open.
The event of truth for Badiou, more than being a discoverable and mysterious matter, is something contingent upon the materialism of the existing situation and takes shape in the process of comprehensive individual evolution, in which its social and political aspects have become prominent.
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