Authors
Abstract
Although the status of women in dramatic literature of resistance has always been criticized by critics and researchers of theatre in our Country, there has been no change in the authors’ approach or their policy making. It seems that despite diagnosing the problem researchers and writers feel uncertain in how to tackle the problem and change the conditions. The main reason is the lack of knowledge about the nature of patriarchy that imposes its unwritten and unchangeable rules on dramatic literature in the form of unattainable tablets.
This article seeks to find out the patriarchy rules governing the dramatic literature of resistance, and to prove them for detailed explanation of the subject with focusing on seven specified plays named: Gabriel’s Wings Song(Tashakkori,2005/A) Beyond My Dreams(Arian¬far,2005) The Guest of Sleep Land(Yasrebi,2000) Zookh(Ashrafnejhad,1988) Repeat(Khanian,2005) Azar (Pourrezaian,2008) From Acacia(Tashakkori, 2005). Getting out of the unwritten state and clearly expressing the stated rules play a major role in violating them and transition from the previous status.
In this structuralist research, through descriptive analysis method, beside the study of women’s image in the resistance plays, the patriarchal rules and similar cases were extracted for reasoning and were arranged under each rule as facts. This paper tries to collect the patriarchal rules governing dramatic literature of resistance and to express the main and applicable methods for violating these rules. This research can influence the expression of current women’s situation in dramatic literature clearly and away from any generalization.
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