دانشگاه شهید بهشتی نقد زبان و ادبیات خارجی 20087330 23 37 2026 05 22 The Bite of the Night: Howard Barker and Post-Truth Allegory «سوز شب»: هاوارد بارکر و تمثیل در عصر پساحقیقت 91 111 106522 10.48308/clls.2025.241806.1384 FA طاهره رضایی دانشیار دانشکده ی زبان های خارجی دانشگاه علامه طباطبایی Journal Article 2025 10 01 This article examines Howard Barker's play The Bite of the Night (1988), one of the earliest dramatic works to exhibit sensitivity to the emergence of the post-truth era in the 1980s. Barker, the prominent English playwright, introduced his “Theatre of Catastrophe” style in political theatre, which transcends linear and realist narratives to focus on ethical complexities and ontological ambiguities. The article argues that The Bite of the Night simulates the crisis of truth and contemporary moral ambiguity by dismantling classical narrative structures—such as dramatic causality and psychoanalytic character development—and employing postmodern allegory. In this work, the post-truth worldview is represented through impulsive emotional decisions and oversimplified analyses, placing the audience in irresolvable ethical dilemmas. The historical context for this shift can be traced to Margaret Thatcher's policies (Thatcherism), which promoted extreme individualism and eroded collective narratives, thereby undermining public trust in cultural authorities. Concurrently, the dominance of digital media and visual culture from the 1980s transformed social communications, shifting civic participation toward digital interactions. Within this framework, political theatre moved away from rational analysis and started to seek emotional impacts and narrative-subverting strategies. Similarly, Barker, distancing himself from socialist theatre, offers no explicit message in The Bite of the Night; instead, he challenges the audience's emotions and ethics. The character of Helen, inspired by Homer's Helen of Troy in the Iliad, becomes an allegory of meaning’s instability and interpretive failure. Savage, a Greek classicist and archaeologist, searches for the original Troy and the essence of Helen amid eleven ruined cities, each symbolizing historical repetition and cultural decay. Helen’s gradual mutilation—from emblem of love and beauty to incarnation of sexual desire and death—not only showcases Barker's poetic violence but also exposes cultural processes of meaning-making. Drawing on new definitions of postmodern allegory offered by Jeremy Tambling, allegory in this play is not a tool for decoding fixed truths but a process of endless deferral and semantic slippage. This “possibility of multiple meanings,” draws the audience into a self-aware game of signification. The article’s theoretical framework rests on post-truth discourse, which Lee McIntyre (2018) describes as the abuse of power amid the weakening of truth's foundations. William S. Boltz (2022) traces its roots to 1950s advertising lies and Reagan's policies, yet the article emphasizes Barker's prescient sensitivity in the 1980s. The play's non-linear structure and contradictory dialogues immerse the audience in ontological bewilderment, where competing narratives supersede reality. The research builds on interpretations of the play by David Ian Rabey (1989), focusing on “ecstasy through catastrophe”; Charles Lamb (2005) discussing linguistic seduction; and Caroline Gritzner (2015) analyzing Helen's duality, and moves beyond them in correcting the misinterpretation of allegory in the play. Ultimately, this interpretation not only highlights Barker's significance in contemporary theatre, but also redefines political theatre as a “laboratory for the ethical crises of our age.” In today’s world, where Brexit and Trump epitomize post-truth, The Bite of the Night remains strikingly relevant, underscoring the need for innovation in representation to enable social intervention. The article suggests that Barker's Theatre of Catastrophe, by unveiling cultural mechanisms of reality construction, serves as a vital tool for resisting dominant narratives. این مقاله به بررسی نمایشنامه «سوز شب» (۱۹۸۸) اثر هاوارد بارکر می‌پردازد که یکی از نخستین آثار دراماتیک است که نسبت به ظهور عصر پسا-حقیقت در دهه ۱۹۸۰ میلادی حساسیت نشان می‌دهد. با تمرکز بر تئاتر فاجعه بارکر، مقاله استدلال می‌کند که این نمایشنامه، از طریق شکستن ساختارهای روایی کلاسیک و بهره‌گیری از تمثیل پسامدرن، بحران حقیقت و ابهام اخلاقی معاصر را شبیه‌سازی می‌کند. در بستر سیاست‌های تاچریسم و سلطه رسانه‌های دیجیتال، تئاتر سیاسی از گفتمان منطقی به تأثیرات احساسی و روایت‌شکنانه گرایش می‌یابد و شخصیت هلن در این نمایش به تمثیلی از ناپایداری معنا و شکست تفسیر بدل می‌شود. با تکیه بر تعاریف جدید از تمثیل پسامدرن و با تکیه بر مباحث نظری حول موضوع پسا-حقیقت این مقاله نتیجه می‌گیرد که بدن مثله شده‌ی هلن و ساختار غیرخطی نمایش، فرایندهای فرهنگی معناسازی را افشا می‌کند و تماشاگر را در سردرگمی هستی‌شناختی پسا-حقیقت غوطه‌ور می‌سازد. این خوانش نه تنها اهمیت بارکر در تئاتر معاصر را برجسته می‌کند، بلکه تئاتر سیاسی را به عنوان «آزمایشگاهی برای بحران‌های اخلاقی» بازتعریف می‌نماید.

https://clls.sbu.ac.ir/article_106522_f334569779d4040e93390420f346764f.pdf