Heidegger and the Drama of the Open A Theatrical Reading of the Story of HASANK-E VAZIR Being Hanged

Q: How can I download an article?

To download an article from SID, first log in to the site, search for the article title, and click on the 'Download Article' option.

Q: How can I download an ISI article?

To download an ISI article on SID, enter the keyword or article title in the search bar, view the relevant results, click on the desired article, and select the 'Download Article' option.

Q: How can I access the SID database?

To access the SID database, visit SID.ir, create an account, and log in to access scientific resources.

Q: Is downloading articles from SID free?

Some articles on SID are available for free, while others require payment. Details are specified on the article's page.

BOZORGMEHR SHIRIN; FEIZI MEHDI

مرکز اطلاعات علمی Scientific Information Database (SID) - Trusted Source for Research and Academic Resources

Journal Paper

Paper Information

Journal: JOURNAL OF DERAMATIC ARTS AND MUSIC Year:2017 | Volume:7 | Issue:14 Page(s): 19-32

Download Full-Text

Persian Verion

View:

496

Download:

Cites:

Information Journal Paper

Title

Heidegger and the Drama of the Open A Theatrical Reading of the Story of HASANK-E VAZIR Being Hanged

Author(s)

BOZORGMEHR SHIRIN | FEIZI MEHDI | Issue Writer Certificate

Keywords

The OpenQ1

RepresentationQ1

Theatre of Art-WorkQ1

Gallows-HASANAKQ1

Martin HeideggerQ1

Abstract

The theatre, in a sense, consists in the “ performance” of the Representation: re-presenting the “ Representation” (The Representation whose forms determine the “ truth of an age” ). In fact, despite any lasting catharsis, theatre, which has become the scenic performance of the Representations (State, Culture, Society, and so on), bring forth an indifferent (but not potential) subject. This indifference is related to both temporal and spatial structures-to temporal structure: drama is “ performed” because it is already the finished drama; to spatial structure: the “ form” of scene itself has already named both sides: actor and spectator. The problem, of course, is that the “ scene” has become the dominant spatial structure in the human community. On the other hand, like any other vital sphere, precisely it is by this absolute sovereignty of Representations that “ space-theaters” , not dialectically but accidentally, withdraw themselves from Representation. Theatre, in this sense, will expose itself as an exact opposite of the representative theatre. Thus, it will strive to disclose the unconcealedness of any open affair repressed by the constituted forms of Representation. Thanks to this strife, “ we” also can dwell in place of the “ all-together of representedness” , in the theatre of “ truth” . This paper is a report of our “ confrontation” with the drama and theatre of HASANK-E VAZIR as a theatre of truth, in which “ spatial relations” would determine the potentiality and contingency of roles, of tensions, and of thoughts. In this paper, in other words, it has been tried to make clear a relation between an open drama (affair) and The Open (“ to liberate The Open and to establish it in its structure” (Heidegger 1975: 45) is the only way to cope with the constituted Representations. The Open is a space in which beings confront one another, seeing only those angles made visible by the particular standing--or placement--of each). Our aim is to arrive at a viewpoint from which, once again, the indispensable connectedness among the Work of Art, the True and the Political would be appeared. In the first place, we pursue the concept of artwork by its origin: “ The Origin of the Work of Art” by Martin Heidegger. Then, we would leave the origin of the artwork for the theatre of the artwork. The theatre of the artwork or the theatre of truth would be an escape line that redeems us from origin and originthinking. In third step, our task would be only to show that Gallows-HASANAK had installed a theatre (Here we come back to “ the Origin” but as the drama of The Open). Thus, we would talk over “ thing-being” of and then “ work-being” of Gallows-HASANAK-because thing-being of Gallows-HASANAK is the path to its “ workbeing” and its “ work-being” opens its theatre. In conclusion, the discussion will end up with clearing this idea that Gallows-HASANAK, as a work, had preserved the political potentiality of the situation.

Cites

No record.

References

No record.

Cite

APA: Copy

BOZORGMEHR, SHIRIN, & FEIZI, MEHDI. (2017). Heidegger and the Drama of the Open A Theatrical Reading of the Story of HASANK-E VAZIR Being Hanged. JOURNAL OF DERAMATIC ARTS AND MUSIC, 7(14 ), 19-32. SID. https://sid.ir/paper/261142/en

Vancouver: Copy

BOZORGMEHR SHIRIN, FEIZI MEHDI. Heidegger and the Drama of the Open A Theatrical Reading of the Story of HASANK-E VAZIR Being Hanged. JOURNAL OF DERAMATIC ARTS AND MUSIC[Internet]. 2017;7(14 ):19-32. Available from: https://sid.ir/paper/261142/en

IEEE: Copy

SHIRIN BOZORGMEHR, and MEHDI FEIZI, “Heidegger and the Drama of the Open A Theatrical Reading of the Story of HASANK-E VAZIR Being Hanged,” JOURNAL OF DERAMATIC ARTS AND MUSIC, vol. 7, no. 14 , pp. 19–32, 2017, [Online]. Available: https://sid.ir/paper/261142/en

Related Journal Papers