عنوان مقاله [English]
As evident in the available set of documents, puppet shows have a long history in Iran. However, due to the non-scriptable nature of this type of art, there are not sufficient records of the backgrounds available to facilitate further, more substantial research work. Any reference to a given performance of the type in history books, travel literature, menologies or fictions could serve as a splendid opportunity for scholars. The present article is an attempt to analyze the elements of this style, and to cast light on the sociocultural context of Iran which contributed to the formations of this style and its attributes. To this end, the author has made use of one of the two written accounts of the puppet shows in Tehran dating back to a century ago, compiled by the renowned scholar in the Iranian studies, Roman Andreevich Galunov, which are considered to be the oldest known records of the type. In an analysis of Galunov’s script, the elements incorporated in the show including the plot, number of puppet characters, the relationship between the characters, linguistic features, musical aspects, and the songs and dance fused into the performance were extracted and compared to more recent, and more exquisite elements of marionette shows to provide a prospective of the performance of this theatrical genre. The study and analysis of the evolution of such performances in the course of the past century, coupled with an examination of the influential social backdrops can act as an overture to the study of other waning dramatic forms aiming at their recognition, retrieving and revival.