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توظيف عناصر المسرح الملحمي «محاكمة الرجل الذي لم یحارب» وتأثیرها في التغریب علی ضوء نظريّة برتولد بريخت | ||
| دراسات في اللغة العربيّة وآدابها | ||
| مقاله 4، دوره 16، شماره 41، آذر 2025، صفحه 101-135 اصل مقاله (606.44 K) | ||
| نوع مقاله: مقالة بحثيّة أصيلة (علميّة محكّمة) | ||
| شناسه دیجیتال (DOI): 10.22075/lasem.2025.37390.1479 | ||
| نویسندگان | ||
| طاهرة چال دره* 1؛ أحمد محمدي نژاد پاشاكي2؛ سلام حمزة معیوف الشنابره3 | ||
| 1أستاذة مشاركة، قسم اللغة العربیة وآدابها، فرع گرمسار، جامعة الآزاد الإسلامیة، گرمسار، إیران | ||
| 2أستاذ مساعد، قسم اللغة العربية وآدابها، كلية الآداب والعلوم الإنسانية، جامعة جيلان، رشت، إيران. | ||
| 3ماجستير في اللغة العربية وآدابها، جامعة الأديان والمذاهب، قم، إيران. | ||
| تاریخ دریافت: 27 فروردین 1404، تاریخ بازنگری: 30 تیر 1404، تاریخ پذیرش: 31 تیر 1404 | ||
| چکیده | ||
| تعتبر مسرحيّة "محاكمة الرجل الذي لم يحارب" لممدوح عدوان من أبرز الأعمال المسرحيّة التي تعكس التوترات الاجتماعيّة والسياسيّة في العالم العربيّ. تهدف هذه الدراسة إلى تحليل كيفية توظيف عناصر المسرح الملحمي لممدوح عدوان علی ضوء نظريّة برتولد بريخت لتجسيد تلك التوترات على خشبة المسرح بما يعكس واقع المجتمع العربيّ وقضاياه المتشابكة وتحليل الشخصيات الرئيسة وتطوراتها لبيان انعكاس الصراعات الاجتماعيّة والسياسيّة في العمل المسرحي. اعتمدت الدراسة على المنهج الوصفی التحلیلی، وأما نتائج الدراسة، فقد عكست المسرحيّة بشكل بارز التوترات الاجتماعيّة والسياسيّة من خلال تطور الشخصيات والصراعات. تبدأ المسرحيّة بالحدیث الجانبي عندما یخاطب الحاجب الجمهور بجمل حوارية قصیرة ومركزة مثل هذا الحوار بین عبد الله وأبو سلیم. أهم صراع خارجي في المسرحيّة هو الصراع بین النائب العام ومحامي الدفاع، حيث یكون فیه الصراع سببا في الصراع الذي یلیه ویكون كل صراع أقوى وأكثر كثافة من الصراع الذي یسبقه. المسرحيّة مؤلفة من فصلین، إذ تعرض في الفصل الأول خیوط الأزمة، وهي محاكمة الرجل الذي لم یحارب وتعرفنا الشخصیات والعلاقة بینها. كما أننا نعرف كل الشخصیات فیها كأبي الشكر والنائب العام والقاضي ومحامي الدفاع ونفهم قصدهم للحضور في المحكمة. ویبین الفصل الثاني احتدام الصراع حتی یبلغ ذروته حینما اتهم النائب العام أبا الشكر بأن لیس لدیه أيّة مشاعر إنسانیة. يبدأ عدوان في التغريب من العنوان بإدخاله التناقض الظاهري بين لفظة (المحاكمة) و(لم يحارب) أي عدم ارتكاب الفعل، ما يثير استفهام لدي المتلقي. تلاعب عدوان باسم الشخصية الأكثر تكراراً في المسرحيّة، وهي شخصية أبو الشكر الذي ترمز إلی الشعب العربيّ فينّزل عليها لعبة التأریخية، فيناديه بالعدناني مرة ومرة أخرى بالغساني بالسخرية. | ||
| کلیدواژهها | ||
| المسرحيّة السورية؛ المسرح الملحمي؛ برتولد بریخت؛ ممدوح عدوان؛ مسرحيّة "محاكمة الرجل الذي لم یحارب" | ||
| عنوان مقاله [English] | ||
| Employing Epic Theatre Elements in "The Trial of the Man Who Did Not Fight" and Their Impact on Alienation in Light of Bertolt Brecht's Theory | ||
| نویسندگان [English] | ||
| ،Tahereh Chaldareh1؛ Ahmad Mohammadinejad Pashaki2؛ SAlam Hamza Muayouf3 | ||
| 1Associate Professor, Department of Arabic Language and Literature, Ga.c., Islamic Azad University, Garmsar, Iran. | ||
| 2Assistant Professor, Department of Arabic Language and Literature, Faculty of Literature and Humanities, University of Guilan, Rasht, Iran. | ||
| 3MA in Arabic Language and Literature, University of Religions and Sects, Qom, Iran. | ||
| چکیده [English] | ||
| Mamdouh Adwan's theatre "The Trial of the Man Who Did Not Fight" is considered one of the most prominent theatrical works reflecting the social and political tensions in the Arab world. This study aims to analyze how Mamdouh Adwan employs epic theatre elements, based on Bertolt's theory, to embody these tensions on stage. This reflects the reality of Arab society and its intertwined issues. It also analyzes the main characters and their developments to demonstrate the reflection of social and political conflicts in the theatrical work. The study relied on a critical analytical approach. The study's findings reveal that the theatre prominently reflects social and political tensions through the development of the characters and conflicts. The theatre begins with a side conversation when the chamberlain addresses the audience. The dialogue is short and to the point, such as this dialogue between Abdullah and Abu Salim. The most important external conflict encountered in the theatre is the conflict between the public prosecutor and the defense attorney, which triggers the conflict that follows it, each conflict being stronger and more intense than the one that preceded it. The theatre consists of two acts. In the first act, it presents the threads of the crisis, namely the trial of the man who did not fight. We are introduced to the characters and the relationships between them. We also get to know all the characters in it, such as Abu Shukr, the public prosecutor, the judge, and the defense attorney, and understand their intention to be present in court. In the second act, the conflict escalates until it reaches its peak when the public prosecutor accuses Abu Shukr of lacking any human feelings. Adwan begins to alienate the title by introducing the apparent contradiction between the words "trial" and "did not fight," meaning that the act was not committed, which raises questions in the reader. Adwan manipulates the name of the play's most frequently recurring character, Abu al-Shakr, who symbolizes the Arab people, and uses historical manipulation against him, mockingly calling him "Adnani" once and "Ghassani" another time. Keywords: the Syrian theatre, epic theatre, Bertolt Brecht, Mamdouh Adwan, the theatre “The Trial of the Man Who Did Not Fight. Extended summary Introduction The play "The Trial of the Man Who Did Not Fight" by Mamdouh Adwan is an epic theater work inspired by historical events, such as the Tatar invasion, with symbolic projections onto the contemporary Arab reality. It centers on Abu al-Shukr, an ordinary citizen tried for not resisting the enemy. The play highlights psychological and social conflicts between national duty and familial responsibilities, emphasizing contradictions in power and justice. Adwan employs Brechtian alienation techniques to encourage critical thinking among the audience, exposing the oppressive nature of the court representing authority. The use of classical Arabic reinforces the historical tone, while Baghdad symbolizes afflicted Arab capitals. Through dialogues between characters like Abu al-Shukr, the bailiff, and the judge, the play addresses issues of justice, class struggle, and identity. It aims to raise questions about individual responsibility toward society and authority, serving as a mirror to Arab challenges. The work invites the audience to reflect on the complexities of moral and social obligations in times of crisis, making it a powerful commentary on both historical and modern contexts. Materials and Methods The play "The Trial of the Man Who Did Not Fight" adopts the epic theater approach, utilizing Brechtian alienation to emotionally distance the audience and stimulate critical reflection. Mamdouh Adwan employs side dialogues, starting with the bailiff addressing the audience, to break the barrier between stage and viewer. Classical Arabic enhances the historical context, while events symbolize contemporary issues. The characters are symbolic: Abu al-Shukr represents the people, and the judge embodies corrupt authority. Historical events, like the Tatar invasion, form the dramatic framework, with invented events, such as the trial, reinforcing the message. Dialogues between characters, such as the public prosecutor and defense attorney, highlight social and moral contradictions. The use of theater-within-theater, as seen in the wheat monopolization scene, deepens the dramatic impact. The play’s scenes are designed to connect events sequentially, with each event leading to the next, reflecting the causal relationship between war, monopolization, and the trial. This structure underscores social injustice, using dialogue and staging to expose power dynamics and engage the audience in questioning societal structures and individual roles within them. Research Findings The play "The Trial of the Man Who Did Not Fight" reveals deep psychological and social conflicts. Abu al-Shukr, the protagonist, grapples with an internal struggle between his patriotic duty and his desire to protect his family. This conflict is evident when he receives weapons but lacks the knowledge to use them, reflecting hesitation and unpreparedness. Dialogues expose the contradictions of authority, as the judge pretends to uphold justice but issues a predetermined verdict, highlighting systemic corruption. Contradictory witness testimonies obscure Abu al-Shukr’s case, prompting the audience to seek the truth. The play portrays a power struggle between authority and the people, with the court representing oppression and Abu al-Shukr symbolizing the oppressed citizen. Alienation techniques encourage the audience to question justice and Arab identity. Baghdad, depicted as a symbol of afflicted Arab capitals, links historical events to contemporary realities, enhancing the play’s relevance. The findings underscore the tension between individual intentions and capabilities, exposing societal injustices and the complexities of moral responsibility in times of crisis, making the play a profound critique of power dynamics. Discussion of Results and Conclusion The play "The Trial of the Man Who Did Not Fight" demonstrates Mamdouh Adwan’s use of epic theater to analyze psychological and social conflicts, focusing on contradictions in power and justice. Abu al-Shukr’s internal struggle between national duty and familial emotion reflects individual suffering amid crises. The use of alienation, through side dialogues and classical Arabic, encourages critical thinking over emotional engagement. The judge’s hypocrisy, claiming morality while acting corruptly, exposes the facade of authority. Baghdad’s symbolism as a devastated Arab capital connects history to the present, making the play a mirror for contemporary Arab issues. Dialogues between characters, like the bailiff and Abu al-Shukr, highlight class struggles and social injustice. In conclusion, Adwan successfully presents a work that prompts reflection on justice, identity, and individual responsibility toward society. By employing simple yet powerful language and alienation techniques, the play challenges conventional drama, engaging the audience in critical analysis of reality. It serves as an effective tool for critiquing societal issues and inspiring social change, reinforcing its relevance as a commentary on both historical and modern challenges. | ||
| کلیدواژهها [English] | ||
| the Syrian theatre, epic theatre, Bertolt Brecht, Mamdouh Adwan, the theatre “The Trial of the Man Who Did Not Fight | ||
| مراجع | ||
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قائمة المصادر والمراجع أولاً: المصادر العربيّة أ. الكتب
ب: المجلات
ثانیا: المصادر الإنجليزيّة: أ. الكتب
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آمار تعداد مشاهده مقاله: 427 تعداد دریافت فایل اصل مقاله: 216 |
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