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Ahmadak - نگاهی به کتاب تئاتر ابسورد نوشته ”مارتین اسلین”
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نگاهی به کتاب تئاتر ابسورد نوشته ”مارتین اسلین”

دوشنبه 26 دی 1390

نوع مطلب :معرفی كتاب، نقد(تئاتر)، 




نگاهی به کتاب تئاتر ابسورد نوشته ”مارتین اسلین”



رامتین شهبازی


کتاب "تئاتر ابسورد" نوشته مارتین اسلین با ترجمه مهتاب کلانتری و منصوره وفایی در سال 1388 توسط نشر آمه به چاپ رسیده است. شاید بعد از دو سال مرور این کتاب کمی عجیب باشد. اما خلاء مبانی علمی در تئاتر ابسورد ما را وا می‌دارد تا امروز – شاید با یک تاخیر طولانی- دوباره این کتاب را از سر نو مرور کنیم.

مارتین اسلین در ایران با کتاب‌های تئاتر ابسورد و دنیای درام، بررسی آثار پینتر و تک نگاری درباره برتولت برشت شناخته شده است. او از منتقدان و استادان برجسته تئاتر محسوب می‌شود که با تحلیل‌هایی که بر نمایشنامه نویسندگانی همچون ساموئل بکت، آرتور آداموف، اوژن یونسکو، ژان ژنه و... انجام داده دین بزرگی بر گردن تئاتر ابسورد دارد.
 اسلین نخستین بار کتاب تئاتر ابسورد را در سال 1961 نگاشت و پس از آن تا سال 2001 دائم آن را بازنگری کرد. خود در مقدمه کتاب می‌نویسد ویرایش دائم این کتاب از نشست و برخاست با خود نمایشنامه‌نویسانی همچون بکت و یونسکو حاصل آمده و بنابراین به طور غیرمستقیم اندیشه این بزرگان تئاتر ابسورد را نیز می‌توان در لابه لای نگارش کتاب مشاهده کرد. همانگونه که اسلین در کتاب اذعان می‌دارد، عنوان تئاتر ابسورد را به راحتی نمی‌توان مورد باز تعریف قرار داد. از همین روست که خود کتاب را با ذکر خاطره¬ای از اجرای نمایش در انتظار گودو در میان زندانیان آغاز می‌کند. او بازتاب این نمایش را در میان طیفی خاص از مخاطبان نمایش که به یک تعریف مشخص اجتماعی باز می‌گردند شروع می‌کند و بعد با این ارجاع سراغ جامعه‌ای می‌رود که اصولا مظهر پیدایش تئاتر ابسورد بوده است. البته گستره این نوع تئاتر آوانگارد- در دوران خود- آنقدر در جامعه همه‌گیر می‌شود که آوازه کاربرد آن حتی در مجامع سیاسی نیز طنین‌انداز می‌شود. اسلین در این کتاب کار خود را با بررسی آثار بکت، آغاز و یک به یک بنابر اهمیت نویسندگان این شکل ادبیات نمایشی دایره بحث را گسترش می‌دهد. آنچنان که در صفحات مختلف این بررسی‌ها می‌خوانیم، اسلین سعی نکرده ذهن خود را در دایره ای بسته از تعاریف تکراری قرار دهد و حتی تناقضاتی را میان آثار نویسندگان مختلف مورد شناسایی قرار می‌دهد. تناقضاتی که نشان می‌دهد این شکل از نمایشنامه‌نویسی همچون قرابت‌هایی که با فلسفه پساساختگرا دارد، تا چه اندازه می‌تواند فرار باشد. از همین روست که شاید هریک از نویسندگان بخش خاصی از بازنمود پوچی را در نوشته‌هایشان تقویت کرده‌اند. یکی با معضل زبان درگیر است، دیگری سرخوردگی‌های روانی، یکی درجازدگی و سکون و یکی دیگر جامعه‌ای که تباهی در آن از بنیان خانواده آغاز و همچنان ادامه پیدا می‌کند.
آنچنان که اسلین در کتاب تئاتر ابسورد به آن اشاره می‌کند، این شکل نوشتاری از ابتدا دارای مکتب و مدرسه نبوده است. برای مثال آندره برتون پس از مدت‌ها یک روز بیانیه‌ای صادر می‌کند و ویژگی‌های مکتب سوررئالیسم را بیان کرده، خود و دوستانش را جزو آن مکتب به شمار می‌آورد. اما تئاتر ابسورد از مجموعه آثار متفاوتی شکل می‌گیرد که به شرایط خاص اجتماعی بعد از جنگ جهانی دوم، بیشتر در اروپا، واکنش نشان داده‌اند. آنها متاثر از روح زمان آثاری را نوشته‌اند، اما بعدها نظریه‌پردازی همچون اسلین با نگاهی از بیرون آنها را بازخوانی کرده و مورد مداقه قرار داده است.
اسلین ابتدا در بررسی‌های خود به درونمایه آثار نویسندگان منتخبش از این نهضت تئاتری می‌پردازد و بعد وارد سبک فرمی نمایشنامه‌ها می‌شود. او در این حین به این نتیجه می‌رسد که فرم و مضمون یا محتوا در آثار ابسورد چندان از یکدیگر جدا نیستند. پوچی مورد نظر نویسندگان در فرم آثار آنها نیز تجلی یافته است. از همین رو سعی می‌کند این ویژگی‌های مشترک را در در فصل ماقبل انتهایی کتاب فهرست کند. او در بخشی نیز مجبور می‌شود ساختارهای ابسورد را با نمایشنامه‌های معمول تا آن دوران، یعنی نمایشنامه‌های خوش ساخت و یا متقدمینی همچون شکسپیر به مقایسه بنشیند.
پیش‌تر فکر می‌کردم، ای کاش این فصل انتهایی در ابتدای کتاب قرار می‌گرفت. اما بعد متوجه شدم، فصل بندی کتاب کاملاً بر اساس شیوه پژوهشی خود اسلین انجام گرفته است. او دقیقا سعی داشته از بیان و صدور حکم کلی پرهیز کرده و نشان دهد که تلاش او بر پایه مطالعه دوره‌ای آثار ابسورد بوده است. یعنی این آثار هستند که عنوان خود را نمایندگی می‌کنند و با اینکه اسلین از جایگاه یک نظریه‌پرداز و نه درام‌نویس به آنها نزدیک می‌شود، اما محصول را برخاسته از آثار تولید شده در این حوزه می‌شناسد.
اسلین در بررسی‌های خود در این کتاب سری به حوزه‌های مختلف علوم انسانی زده و سعی کرده تا مسئله تئاتر ابسورد را در شکلی همه جانبه مورد تبیین قرار دهد، اما جای ردپای پرداختن به فلسفه پساساختگرا در این زمنیه اندکی خالی به نظر می‌رسد. در فصل مربوط به بکت و یا یونسکو اشاره‌های مختصری به این مقوله شده است، اما خیلی زود مسیر به سمتی دیگر رفته و اسلین چندان در آن غور نکرده است. توجهی که او به این دو نویسنده نشان می‌دهد حاکی از علاقه اسلین به آنها دارد. اگرچه بررسی دیگر نویسندگان نیز نقصان ندارد، اما به اندازه بکت و یونسکو کامل نیست. مسائل تیترواری که در بررسی‌ها مطرح می‌شود، مانع از عمق کتاب نشده و اسلین هیچ تیتری را با بی حوصلگی رها نمی‌کند.
در انتهای کتاب فرمول‌هایی برای خوانش آثار ابسورد ارائه شده است. اما همین فرمول‌ها برخی در آثار نویسنده‌ای پاسخ می‌دهد و در مورد نویسنده دیگری خیر. از همین رو اسلین دقت می‌دهد که در برخورد با نویسندگانی که آثارشان ردپای تئاتر ابسورد دارد باید مراقب بود تا منتقد به بیراهه نرود. با این همه همین فصل می‌تواند راهنمای خوبی برای آنانی باشد که در حوزه تئاتر ابسورد تحقیق می‌کنند و یا قصد دارند اینگونه آثار را مورد تحلیل قرار دهند.
تاکنون در ایران آثار بسیاری درباره تئاتر ابسورد منتشر شده و گرانسنگ‌ترین آنها کتاب‌های پروفسور فرهاد ناظرزاده کرمانی، پروفسور احمد کامیابی مسک و... بوده است. اما به نظر می‌رسد، کتاب مارتین اسلین همچنان راهگشا و نسخه اصلی محسوب می‌شود.
اما مترجمان کتاب در ترجمه نام کتاب سراغ عبارات تئاتر پوچی، تئاتر عبث گرا و... نرفته‌اند. آنها سعی کرده‌اند عنوان ابسورد را به عنوان یک وضعیت حفظ کنند. در امر ترجمه گاه رخ می‌دهد برای اینکه بتوانیم امری را از زبان مبداء به زبان مقصد توضیح دهیم، درگیر واژه نشده و یا عباراتی را وضع کرده و یا با جملاتی ماجرا را توضیح دهیم. دکتر مسعود دلخواه در سخنرانی که در نقد کتاب "این سه تسخیرناپذیر" تالیف روزبه حسنی برپا شده بود بیان داشت:" شما فرض کنید در میان سخنرانی ما ناگهان یک نفر در را باز کند. وارد شود و شروع کند به آواز خوانی. آنگاه ما می‌گوییم:It's absurd"(نقل به مضمون)
دقیقا توضیح واژه ابسورد اندکی مشکل است تا اینکه بتوانیم معادل مناسبی را برای آن بیابیم. از همین رو می‌توان حسن انتخاب مترجمان کتاب را تحسین کرد. خود متن کتاب نیز به جز مواردی در فصل اهمیت امر ابسورد، روان بوده و دچار دشوارگویی و پیچیده نمایی نمی‌شود. اتفاقی که متاسفانه گریبانگیر برخی کتاب‌های نظری می‌شود. فصل‌های مختلف کتاب توسط دو مترجم و جدا جدا ترجمه شده، اما در نهایت این دو قلمه بودن خود را به رخ خواننده نمی‌کشد و مترجمان توانسته‌اند به یکدستی مناسبی دست یابند.
در نهایت باید اذعان داشت، کتاب تئاتر ابسورد یکی از غنیمت‌های حوزه نظریه‌پردازی در تئاتر به شمار می‌آید. کتابی که فکر می‌کنم در شأن خود در ایران قدر ندیده است.
 



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شنبه 29 تیر 1398 08:27 ب.ظ
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شنبه 29 تیر 1398 06:28 ب.ظ
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شنبه 29 تیر 1398 06:09 ب.ظ
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جمعه 28 تیر 1398 02:05 ب.ظ
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נערות ליווי
پنجشنبه 20 تیر 1398 08:13 ق.ظ
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נערת ליווי בבת ים
چهارشنبه 19 تیر 1398 04:43 ب.ظ
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چهارشنبه 19 تیر 1398 08:26 ق.ظ
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שירותי ליווי ברמת גן
سه شنبه 18 تیر 1398 01:12 ب.ظ
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سه شنبه 18 تیر 1398 09:15 ق.ظ
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שירותי ליווי ברמת גן
یکشنبه 16 تیر 1398 07:54 ب.ظ
We're having coffee at Nylon Coffee Roasters
on Everton Park in Singapore. I'm having black coffee, he's developing a cappuccino.
He is handsome. Brown hair slicked back, glasses for his face, hazel eyes and the most amazing
lips I've seen. He is well-built, with incredible arms plus a chest that
is unique with this sweater. We're standing
in-front of each other discussing our everyday life, what we'd like money, what we're seeking on another person. He starts telling me
that he's got been rejected many times.

‘Why Andrew? You're so handsome. I'd never reject you
', I say He smiles at me, biting his lip.

‘Oh, I can't know. Everything happens for a good reason right.

But figure out, can you reject me, would you Ana?' He said.



‘No, how could I?' , I replied

"So, you wouldn't mind if I kissed you at the moment?' he explained as I get much better him and kiss him.

‘The very next time don't ask, do it.' I reply.

‘I enjoy the method that you think.' , he said.

Meanwhile, I start scrubbing my high heel in the leg, massaging it slowly. ‘Precisely what do you prefer in females? And, Andrew, don't spare me the details.' I ask.

‘I like determined women. Someone to know what you want. A person that won't say yes although I said yes. Someone who's not scared of attempting something mroe challenging,' he says. ‘I'm never afraid when trying interesting things, especially in regards to making new stuff in the sack ', I intimate ‘And I really like girls that are direct, who cut in the chase, like you may did. Being
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nipslip
جمعه 14 تیر 1398 10:17 ق.ظ
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