Criticism of the play “Antigone” directed by Mohammad Reza Agha; Secondary dramas
“Antigone” narrated by Mohammad Reza Aghag has drawn the political issue in a quasi-post-dramatic extra-curtain, so that his work in the ending, from the perspective of its inner workings, is unintentionally similar to “Insult to the Spectator/Peter Handke”, the Austrian playwright of the contemporary avant-garde novelist; In fact, the long prologue of Handkei in Farendi Alternative has been replaced by a short epilogue in the show.
Charso Press: The previous review was based on the first night of the show, and the performance took place on the eighth night, so I have rewritten the review of the first night of the show. The hero of the “Agah” narrative is the great absentee of the scene, and to fill it, he borrows from an off-stage non-actor (contracted actor) to summon the civil elements in the screen readings. The poster and the names of the actors of the show make a contract with the audience, which the director takes a big risk.
In the opinion of the productivity of an avant-garde (progressive) work, can the monopoly contracts of the show be played? The actress (Mehsa Jamshidi) who is present in the brochure of the show in the form of a picture and in the introduction of the characters, but there is no trace of her in the show and according to the director, she is like a butterfly that the logo of the show is based on. Due to his absence, a figure has been left behind, which probably some of the audience of his show may not be able to bear and consider the concept of his absence on the stage as a theatrical fraud. According to the number of shows in the coming seasons of Novellochato, this statistic will take a more serious form, and this is something that can be witnessed in the end. The first night of the show does not establish a dramatic connection with the ending and the political issue of this absence, but the eighth night of the show brings an implicit release of the work due to some changes in the way of interacting with the audience due to the presence of the final scene of Antigone’s suicide. “Antigone” is the story of an absent woman whose brothers “Polonix” and “Eteokles” are killed in a face-to-face battle for power, “Creon” the brother of “Iocase” and their uncle who is the king of Thebes in ancient Greece. “Eteokles” was buried with a magnificent ceremony, but he considered “Polonix” a traitor and forbade his burial so that his corpse would rot and become food for scavengers and rats, thus he violated the orders of the ancient Greek gods. “Antigone” asks her uncle “Creon” who was also the father of her husband “Haemon” to allow her to bury her murdered brother, which is opposed by King Thebes, and in one of the narratives it is said that he ignored Creon’s order. He buried his brother and buried himself alive with him, and in another story, Antigone, after failing to bury his brother Polonix and being arrested by Creon’s soldiers and imprisoned in a cave near the city by the order of the king, commits suicide, his wife “Haemon” also does nothing in the fight with his father “Creon” or to prevent “Antigone” from committing suicide in the cave and his wife hangs herself. and has no light to the outside. The female hero stands against Shahetbas with all her will to take back her brother’s body and bury it, even if she faces an unfair punishment. “Kreon” also ignores the punishment of his work and disobedience to the ancient gods, insists on obeying his order, and finally, with this insistence, events happen where he loses his family, including his son and his wife, although he still sees himself as the head of power. He does not lose his throne.
Based on the basis of the work, which was also narrated by the ancient Greek tragedian “Sophocles” in one of his remaining seven plays, the director of the play in the show of these days at Noufel Loshato wants to make the hero of the Greek story absent by his efforts to make him the protagonist. To connect the outsider and the concept of “Sophocles” play by breaking the fourth wall from the middle of the play to the end, bringing the audience to the place to make them a partner in the interaction, “Agah” takes a big risk, which may disconnect some people from the show. lead and some may join him in this end of the spectrum of audience. Adhering to some rules and conventions of stage shows in the name of following the post-dramatic and progressive theater style cannot be the right path in carrying out the principles of classical and story-oriented narratives. Using secondary dramas in the field of classical plays requires experience and knowledge, which may go astray in this area due to the limitations.
In an article entitled “Parasitic Politics and Secondary Dramas”, Karen Yours-Monby writes a quote based on the theme of “Hans-Thiesslehmann” from the performance of “Faust in August” and “Abraham Hald” by “Alfrieda Yelink”. “The political matter can only appear indirectly in the theater.” And Yelink, the author of the two mentioned works, says: “I am more and more willing to create secondary dramas, dramas that are placed next to the classic works.” This quote The promise means that Yelink as the creator and writer with the help of the director Shtman in the show Avram Hald (which means mine waste) on the one hand and Faust in August, directed by Dushan David Parizek from the Czech country. On the other hand, he wanted to link the concepts of his two works to the political and social issues of the day, and the two directors have also tried to share the concept of the work with the audience by involving them in a part of the performance. , but in some places he avoided the participation of his female actress and used an external actor as a contract actor. and emotional outpouring) based on emotions, he does not make his audience aware of it, and only with the numerous and untimely interruptions of his show in the last act and the two final scenes, he is satisfied with the explanations of his main actor in the role of “Creon”, which is definitely not able to match the passion and excitement that “Karen Yours” “- Munbi” refers to achieve. The director should have prepared a suitable platform for the awareness of his audience from the beginning and gradually so that he can somehow participate in this civil-social-political passion. What would happen if the absent female actor of the show were to become completely inactive (neutrality) in the presence of a scene? If he achieves self-confidence and lack of will based on doing the desired act in the act of suicide
And the actor asked the female audience to help him complete the stage form. How would the atmosphere be completely settled? And now that he is not there, how can his absence be connected to the unseen energy? The audience does not get involved in the created atmosphere and this requires similar trials and errors on other nights so that the release is close to its end. The development process of “Antigone” by Mohammadreza Aghaz, by adopting “practice-performance-experience” every night, can take on a different color and expand its stage in an interactive development in a real way, civic interaction from the stage to the audience and from the audience to the stage like a song. Let the spirit turn into pure fluidity. In these scenes, the director himself can give directions from the platforms like a guide to the lines and connections outside of closed clichés, which means that he will bring him closer to the main theme of his show at the end. Parasitic politics that dominates the margin over the text so that the political issue penetrates the aspects of the post-dramatic theater like a bolt of lightning and the main concept of the show is aligned with it. That is, what the director emphasizes on the use of “Chat GPT” in the Tiwal network and in his show’s brochures is nothing more than a satire and as a rule, it will turn into a joke of the show and a useless tool in it, an idea that could have been implemented if he had the knowledge and skills. Its use becomes a noteworthy event in the text and performance, an idea that could even be used in the creation of Yelinki’s secondary drama in the audio space based on the summoning of historical sounds using environmental and system noises, whatever “Eshtman” As a director, in the performance of “Nathan Khordmand Lessing” for a long time, he profited only through a huge speaker hanging from the ceiling. The director’s main idea of making the female protagonist disappear and connecting her to the political-civil matter in a pseudo-post-dramatic extra-curtain loses its glory in the context of interacting with the audience in the final scenes in a repetitive process and explains an idea that seems to be In being risk-averse, he is consciously aware of the fear of feedback. A process that is outside the conventions of stage theater and cannot be emphasized as an artistic aspect. It is not possible to tell the audience of the show that something happened to the leading female actress of the show and after they believed her, she cast them in the role. Perhaps, if the male actor did not appear on the stage and the audience waited for the absence of Antigone’s character until the end, neither the contract would be violated nor the meaning of the work would be disturbed in its glory, climax and continuity. As a rule, and based on my observations, the experience of the first night of the show was different from the eighth night and brought an upward and promising series. The experience that has turned these days of Noufel Loshato purple, and the absence of Antigones in the scene of life and civic participation has become a dull boredom.َwin.
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