نوع مقاله : مقاله پژوهشی
نویسندگان
1 کارشناس ارشد کارگردانی، دانشگاه تربیت مدرس، دانشکده هنر، شهر تهران، استان تهران
2 استادیار دانشکده هنر دانشگاه تربیت مدرس، شهر تهران، استان تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Abstract
Shabih-khani (Ta’ziyeh) which is the most important and coherent performance from in Iran and
world of Islam from beginning based upon rites and rituals which involved in Iranian Shiites religious
creed. So its narrative basis derived from important event of Shiite history such as of martyrdom
Imam Ali and Imam Husain. Governments’ authorities, evolution in structure of societies, relations
with other countries a civilizations, changes in lifestyle of people and development of Shabih-khani
led to establish new performances with new narratives. So Shabih-khani entered into its second and
third stage of life (religious narratives apart from Islamic ones). In third stage and thereafter the
domain of this performances extend to other religions characters and stories and contemporary life.
Although the writers and performers of Shabih-khani all were Muslims, but they sometimes interested
in other religions and tried to draw other religions spectators attention as well as Muslim spectators
to their performance. May be for this reason this performance from has been registered in European
itineraries and political reports. Then it is not surprising that the writer of Shabih-khani in those days
who thought about spectators and their reactions would extend the domain of his stories to other religions;
he looked for communication. Perhaps the earliest followers of other religions in the characters
Shabihkhani, Sub-sectors in the Goshes like a narrative rooted in the belief that the writer and director,
slowly into the old familiar stories. Previously was Innovation made in character, speech and versions
were considered in the context of previous versions; Writers and directors of religious belief of not
crossing the limits. But getting into the personalities of other religions, attending Shabihkhani Opened
the way for innovations in the frame narrative. Do not know exactly what the author of this feature
when added to the texts, Or any director, on the run, the success of the organization accepting the eyes
of other people in the community and had quite a following; But obviously that was not the object of
this new approach and even led others to follow, the result of the sub-accounts in Shabihkhani. Seems
to be quite the martyrdom of Imam Hussein in Christian characters, Author’s work is perhaps the
earliest followers of other religions to enter the text quite; in the ancient texts, we found the remains
of a sign. Perhaps the Jewish characters was the second group of followers of other religions, were
added to the text of Ta’zieh. Also Among the texts Ta’zieh, there are few texts of Hindu characters. We
can also see signs of other religions or religion in Shabihkhani texts. Christian, Jewish, Zoroastrian,
Hindu and Manichaeism characters are more prominent among other religions followers. So Shabihkhani
is not like European religious dramas which dedicated just to one religion followers, But rather
as a ritual, or merely the theater of widespread communication ideological thought
کلیدواژهها [English]
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