Abstract

Although the widespread development of dramaturgy in the practical and theoretical fields has made it today an independent "discourse" in contemporary theater, it is still one of the most ambiguous and controversial areas in theater studies. The term dramaturgy, first added to the specialized vocabulary of theater by Gotthold Ephraim Lessing, has been used as a phenomenon in its historical course in various meanings and concepts and has organized multiple generations of dramaturgy in different cultural and geographical contexts. Despite the diversity of concepts, the intersection between all these movements that make it possible to study and think about dramaturgy as discourse is the philosophical nature of this artistic act. This philosophical nature, which has received less attention from research and theories of dramaturgy, is the hermeneutic and deconstructive nature of dramaturgy in the face of the text; So that dramaturgy in all historical currents as an interpretive view of dramatic or non-dramatic texts has denied the authority and indestructible nature of texts, to provide a "double" or "supplement" reading. This research in addition to genealogy and historical study of dramaturgy seeks to explore the soul and nature of dramaturgy as a "phenomenon" from a philosophical perspective, and then to consider the "deconstruction" of the contemporary French philosopher Jacques Derrida as a strategy for dramaturgy. Deconstruction is a unique strategy for reading and dealing with philosophical texts that Derrida first formulated and used based on the views of Husserl and Heidegger. Derrida's deconstruction, by attacking the fundamental concepts of Western philosophy and showing the metaphysical nature of cognition, transformed the authority of the text, the process of signification, the meaning, and the nature of writing. Moreover, this study, by using Derrida deconstruction, will pave the way for an attitude in dramaturgy that can be called "deconstructive dramaturgy". Deconstructive dramaturgy with emphasis on the lack and absence of present and full meaning in the text shows that Derrida's deconstruction can be considered as a strategy in dramaturgy in the face of the text and can be used as a complementary reading in the field of dramatic and non-dramatic texts.