Document Type : Original Article
Authors
1
PhD student in Art Research, Department of Art, Faculty of Civil Engineering, Architecture and Art.Science and Research Branch, Islamic Azad University, Tehran, Iran.
2
Associate Professor, Department of Dramatic Literature, Faculty of Arts, Tarbiat Modares University, Tehran, Iran
3
Assistant Professor, Department of Art, Faculty of Civil Engineering, Architecture and Art. Science and Research Branch, Islamic Azad University, Tehran, Iran.
Abstract
Grotesque is an influential literary concept that conveys conflicting human emotions to the audience, featuring elements such as simultaneous comedy and tragedy, discord and abnormality, exaggeration, metamorphosis, disgust, and social transgression. One of the most important theorists in this field is Mikhail Bakhtin, to the extent that research and examination of the grotesque cannot be done without considering his theories and perspectives. In Iranian dramatic literature, the concept of the grotesque has also been used by a small number of writers. Gholamhossein Saedi is among the writers who, in the 1960s, wrote plays with a critical and reformist approach in this regard. Because successful grotesque and critical plays were written in the West simultaneously with the unstable social and political situation of that time in Iran. Also, the subject of humor in Iranian theater had been placed at the lowest level of dramatic value due to its lack of impact on the audience. Among his works in this field is a play titled "Dictation." This research, utilizing library resources and based on a descriptive-analytical method, aims to examine the theoretical backgrounds and critical functions of the grotesque in the play "Dictation" by Gholamhossein Saedi from the perspective of Mikhail Bakhtin. Based on the findings of this research, the critical components of Bakhtin's grotesque in the play "Dictation" by Gholamhossein Saedi encourage the audience to strive for the correction of irrational matters.
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