نوع مقاله : مقاله پژوهشی
نویسندگان
گروه هنرهای نمایشی، دانشکدگان هنرهای زیبا، دانشگاه تهران، ایران
کلیدواژهها
عنوان مقاله English
نویسندگان English
Audience studies remain one of the most challenging fields within theatrical theory. Despite the expansion of this field in recent decades and the sustained efforts of contemporary theorists to redefine the role of the audience in the performance process, a significant portion of classical Eastern approaches has received comparatively limited attention in cross-cultural and comparative scholarship. The present study aims to examine the concept of the autopoietic feedback loop in Erika Fischer-Lichte’s aesthetics of performance and to compare it with audience-oriented communicative models articulated in major theoretical texts of classical Eastern theatre—namely the Nāṭyaśāstra (attributed to Bharata Muni) and the treatises of Zeami Motokiyo, including Fūshikaden and Kakyo. The central question of this article is to identify the points of convergence and divergence between the communicative approaches proposed by Bharata and Zeami, and Fischer-Lichte’s concept of the autopoietic feedback loop. This qualitative study adopts a descriptive–analytical methodology and examines the three fundamental components of the autopoietic feedback loop—reversal of roles, community formation, and touch—in relation to audience-centered approaches in Indian Sanskrit theatre and Japanese Nō theatre. The findings reveal deep affinities among these theatrical systems, particularly in their shared emphasis on live, community-forming interaction between performers and spectators. At the same time, notable cultural differences emerge: while Eastern traditions foreground inner transformation and the spiritual dimension of performance, Fischer-Lichte’s framework focuses on the ephemeral, unpredictable, and processual nature of performative interaction.By bringing these distinct theatrical systems into dialogue, the study facilitates a convergent exchange between Eastern and Western traditions and opens a new horizon for rethinking performer–audience interaction within a global context of theatre studies.
کلیدواژهها English
