L’Absurde engagé : Parcours de l’absurde de la scène à l’écran à la suite de la seconde guerre mondiale en Iran et en France
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Date
2024-01-09
Authors
Saedi, Maryam
Journal Title
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Publisher
University of Oregon
Abstract
This dissertation explores the complex and multifaceted concept of the Absurd, tracing its trajectory through history from its origins in France to its flourishing in contemporary Iran. At its core, Absurdity is the poignant interplay between humanity's quest for meaning and the universe's silence and indifference. Absurd is not a static or homogeneous concept; rather, it is fluid and dynamic, evolving over time and across cultures.Although the Western understanding of Absurdity is often associated with nihilism and death, this dissertation argues that in the Iranian context, the Absurd is reclaimed as a celebration of life and beauty. While the modern concept of the Absurd emerged from the European existentialist movement and greatly developed in the 20th century, the Persian literary tradition has embraced the notion of nothingness in its poetry since the 13th century. This enduring theme remains integral to contemporary Iranian artistic expression.
The research initially delves into French philosophy and literature, specifically focusing on Albert Camus' perspective on the Absurd, and explores the ramifications of embracing absurdity both on a philosophical and socio-political level. Through a meticulous examination of
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the plays by Eugene Ionesco and Samuel Beckett, the first chapter argues that despite their resistance to conventional communication and meaning, the Theatre of the Absurd actively encourages audience engagement.
Shifting its gaze toward Iran, a country marked by significant political transformations in the 1950s and 1960s, the research highlights how many Iranian writers and filmmakers utilize the Absurd to subvert the regime's imposition of a rigid and ideologically driven version of modernity. Instead, they celebrate the nation's rich cultural heritage and traditions through their works. The third chapter explores the usage of the Theatre of the Absurd as a means of socio-political activism and resistance against imposed modernity by Iranian writer Gholam Hossein Saedi.
In the final chapter, through an interdisciplinary approach that examines New Wave cinema, this dissertation offers a fresh perspective on the different accounts of the Absurd as a subversive, transformative, and creative force as demonstrated by filmmakers such as Dariush Mehrjui, Bahram Beizaei, and Abbas Kiarostami. Iranian New Wave cinema, in particular, presents a unique lens through which absurdity is approached. By challenging conventional adult skills and embracing a spiritual vision of life, this cinematic movement cultivates a fresh paradigm for perceiving the world and discovering the beauty within nothingness.