The Islamic Drama (Special Issue of Journal of Israel by Jamshid Malekpour
By Jamshid Malekpour
Defined by means of the celebrated theatre director Peter Brook as 'a very strong type of theatre', the Ta'ziyeh is the Islamic drama of Iran. This paintings examines the evolution of the Ta'ziyeh, which concerned components drawn from Zoroastrianaism, Mithraism, mythology, folklore and conventional kinds of Iranian leisure. In its ultimate shape, such a lot of its components - plot, personality, proposal, spectacle and music - derive from the Shi'a department of Islam. Its major plot issues the soreness and demise of Imam Hussein, grandson of the Prophet of Islam. a different factor of the magazine Israel Affairs.
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Extra info for The Islamic Drama (Special Issue of Journal of Israel Affairs)
Example text
The Islamic drama 26 The next important piece of documentary evidence concerning the mourning rituals associated with the death of Imam Hussein is provided by Jean-Baptiste Tavernier (1605– 80), a Frenchman who travelled to the East six times between 1632 and 1668 at the time of the Safavid dynasty. It is in his book that for the first time we read about some of the important theatrical elements of the Ta′ziyeh, which were performed as part of mourning rites practised at that time: ‘In some of those coffins, a child was sleeping and the coffin was surrounded by people who were weeping and mourning.
It was Qa’ani (1807–53) who developed a form of poetry that was dramatically suitable for the dialogue of the Ta′ziyeh. This language was extraordinary theatrical in nature and needed only to be spoken by separate characters rather than by a single narrator/rowza-khan for it to become ‘theatre’ in the full sense: What rains down? Blood! Who? The Eye! How? Day and Night! Why? The Islamic drama 42 From grief! What grief? The grief of the Monarch of Karbala! What was his name? Husayn! Of whose race?
3 Tavernier’s description of the child’s coffin carried in a procession is a clear example of what is known in the Ta′ziyeh as Shabih-sazi, or impersonation. In this case the dramatization (shabih) involves the impersonation of Ali Akbar and Ali Asghar, two children of Imam Hussein. Tavernier’s account provides the evidence of the first attempts at turning the mourning rites into a full-scale religious theatrical form. Adam Olearius,4 who was in the city of Ardibil in Iran in Muharram of 1637, has given a very precise account of mourning rituals and processions from a Western observer’s point of view.



