Document Type : Original Article
Authors
1 Assistant Professor, Department of Persian Language and Literature, Alzahra University, Tehran, Iran
2 M.A Faculty of Arts, Soore,University, Tehran, Iran
Abstract
Nietzsche's philosophy and his understanding of life are closely related to mythology and art, and this can be understood from his epistemological system, which is based on the interaction and opposition of two Dionysian and Apollonian principles. The importance of the place of art and drama in Nietzsche's view is that he considered tragedy and drama to be the highest arts and subsequently considered art to be the affirmation of life. Nietzsche's attitude towards art has resulted in a systematic identification of ideal and lofty drama, which, not explicitly, but its principles can be found in his propositions. On the other hand, Nikos Kazantzakis, as one of the artists influenced by Nietzsche's opinions and thoughts, has tried to give shape and form to these data and Nietzsche's indices in high art in the context of drama and use those concepts and principles in both the form and content of his works. Therefore, this research, with a descriptive-analytical method, tries to investigate the position of Nietzsche's system of thought in fields such as superman, the confrontation between superiors and inferiors, and saying yes to life in the form and construction of the play "Buddha" by Kazantzakis. The results of this study will show that Nietzsche's philosophical system influenced the writings of this author, especially the play of the Buddha in the four areas of character (hero/antagonist), dialogue (highlighting in language), scene (spatial matter), and the use of music. The data and the direct effect of Nietzsche's main schemas have taken on an external appearance in this play. Therefore, by examining the manner, function, and mechanism of Nietzsche's philosophical concepts and data, it is possible to provide a new definition of the construction, content, and narrative system of Buddha's play.
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