Ti'ātr-i Bikit va Nuruluzhī-yi Iḥsās: Persian 1402

One of the characteristics of Samuel Beckett's plays, which brings them closer to the work of neurology, is his fascination with the detailed and obsessive treatment of the complex physical and behavioral movements of the characters on the stage to show perceptions, emotions, feelings, and wounded ideas. Sean is under the light of the projector; It is as if he connects the work of the body to the work of the brain and mind through the movements and actions of these special and unusual characters. Beckett wants to introduce us not only to the depth of essence and the existential nature of the actor on the theater stage but also to the existential nature of himself and ourselves by showing the deficiency and absence of natural bodily and linguistic actions. In other words, Beckett turned the idea of body-brain connection in social consciousness and cognition into a possibility on the stage. Perhaps this is the reason why most of the characters in Beckett's plays are somehow restrained from natural movements and actions on the stage, and it is in Beckett's tragic-comic situations that the situation for creating the theater of absence or deficiency arises. This is the situation for Neurologists, who are often faced with the deficiency and absence of normal functions of the brain and nervous system, it occurs frequently, and patients should seek to discover its hidden causes by observing and paying attention to the movement, action, and emotional process in the body and spoken language.