The Analysis of “Majles-e Ghorbani-e Senemmar” based on the Narratological Theory of Monika Fludernik

The Narratology of Drama has been one of the challenging topics of study in preceding years. Theorists like Brian Richardson and Ansgar Nunning, by publishing multiple books and papers about narratology of drama, attempted to detach the narratology from the restrictions of fiction. Along with Richardson and Nunning, Monika Fludernik used structural narrative concepts to establish an approach that highlights narrative possibilities in playscripts. Fludernik’s propositions, her analysis of dialogues and exploring the roles of different narrators in plays, has been a huge step towards narratology of drama. Researchers in this article will study and analyze Majles-e Ghorbani-e Senemmar by employing Fludernik’s approach in order to explain the narrative structure of this play and to illustrate the practical functions of Fludernik’s approc. Majles-e Ghorbani-e Senemmar is one of those plays with a narrator as a personage narrating the story for the audience. Types of narrators, presentational models of narrating, types of character introductions, use of metonymy, setting, time\space, and finally different types of representation of speech, are characteristics that Fludernik emphasizes on as categories of narrativity. These elements can be traced and explored in the aforementioned play by Bahram Beyzaei. Fludernik’s approach helps us to discover fresh aspects of Beyzaei’s oeuvre that have been overlooked since now.