The Domination as puppet being in «Hamlet with season salad» by Akbar Radi based on Max Weber s theory

One of the most influential discourse on dominance is Weber’s theories that are, however, quite age-old, still are used in social studies. Dominance as a facet of power in the whole concept is a mutual relation between the system of power and obedient person or persons. So it’s classification from Weber’s point of view forms three systems of dominance and following it three types of obedience which is highly important in interpretation of social relations of a theatre. This classification includes: Traditional Domination that relies on the use of very ancient sacred traditions, Charismatic Domination that relies on personal charisma of a hero, and finally the Domination of Law-Wisdom that relies on the rectitude of rules and regulations approved officially. Symbolic point of view is one of the most important semantic interpretations of puppet in which puppet are conceived of a sign or symbol of human being. Since the major semantic element of puppet’s existence in a performance is the presence of puppeteer and his/her control and manipulation that makes puppet’s character, it can be explicated based on “power” concept of Weber in “dominance” in which the puppet is in the situation of being directed. By this view “Puppet being” is the description of situation in which a person is dominated and directed by other and can be retrieved in different kinds of social relationship. What it makes this concept stabilized in social dialogue is extensive use of the term “puppet” in social and political issue. Retrieval of Puppet being kinds is a convenient way for puppetry adaptation of texts in two performing and researching scope. The case study of this issue is a play, named Hamlet with Season’s Salad by Akbar Radi, one of the well known Iranian playwrights whose works have been compared with those of Anton Chekhov and Henrik Ibsen. The tough realism of his work gets into a social theme because of his studies in social science. This play with a tone of humor and grotesque ending provides an explanation for bride’s and groom’s arrival in unconventional, ridiculous, domineering and slavery-interested world of bride’s family. From the very beginning of the text and by author’s verbal and formal delineation, the dominance of bride and later the domination of bride's family on the groom’s character “Damagh” are completely found. This domination, which is a sample of Traditional (Family) Domination, is firstly introduced by the superiority of bride “Jigargushe” over Damagh and also by the traditional dominance of patriarchal system in characters like “abolpashm”, “alijenab” and grandfather and then is followed by Charismatic (Ideological) Domination formed owing to jigargushe’s considerable effort into presenting her family members as charismatic characters. These types of domination lead Damagh to a complete puppet being. Semantic search in the play for signs such as training, obedience and possession in Traditional (Family) Domination, emphasis on charismatic aspects of grandfather, uncle and father in Charismatic (Ideological) Domination and also concrete behavioral symptoms of being puppet can be indicated Damagh as a puppet being.