رضا کوچک زاده

Imam Reza’s Shabih Namehs (the text of Ta’ziyeh) belong to the second period of passion plays writing and after that; a period in which the writers of these texts distanced from the main events of Ashura and martyrdom of Imam Ali and started writing about the other Innocents in Islam. This period began almost during the reign of Fathali Shah Qajar Being the unique integrated national/religious art of Iran, Ta’ziyeh was originally a popular art welcomed by all social classes. Therefore, different narratives of one story appeared in different regions whose confrontation not only leads to recognition of creativity within the definite framework of narrative but also can make the reader familiar with attitudes and beliefs of a broad range of Iranians. This research is mainly based on the following questions: with regard to writers’ using of Shiite history narratives, how are the narratives in namesake Ta’ziyehs which deal with the same subject? Have these writers been under the influence of past narratives so much that they did not have capacity or possibility for innovation?The data of this study has been gathered via library method and has been analyzed by descriptive-inferential method.After investigating the writing period of Imam Reza martyrdom’s Ta’ziyehs, this study explores the confrontation of two different Ta’ziyehs in order to find their similarities and dissimilarities. Through an intertextual reading, and while studying various techniques used by writers for providing the proper dramatic description of a given historical event, we become familiar with differences in local people’s attitude and understanding of such event.The evaluation of namesake Ta’ziyehs shows that the writers do not seek repeating the past methods and have tried to try new ways regarding the narrative, audience and society of each period.

With a view to the formation Theatre in Eastern countries، we understand that not only people but also display the current distance between them and life stage، or has made an important part of life in East residents. In this study focuses on two important Iranian Theatre and metamorphosis from the perspective of sociology to more accurate picture of the relationship refers to interactive Theatre and community. By reflecting and shaping the theoretical framework based on the familiar theory; inadequacies remain in their range. And research on the social history of confrontation between Iran and Theatres the transformation of traditional Iranian history and environmental studies library is built. Tazyeh، Iranian tragedy، underlying social and political events emerged in Iranian society and social events during the rise time of the obvious people، benefited. Iran virtually every social change in different periods and found their way into art throughout the centuries has led transformations Dec; as some features also play an important role in Iranian society left Dec. Though much depends upon the formation of the Taghlid (Iranian comedy) of Iranian society، not the composer، changes and changes in Iranian society to track changes in their way; So that the duplication was an integral element of social criticism. This Article focuses on the “Society and Ta''ziyeh” into three parts; Social context of Genesis Ta''zieh، Stability and Change & Modern society and the fate Ta''ziyeh. In the first part we understand how Political activities and social could in a country torn، Suitable context to build a theater for Genesis. Ta''zieh basic in Ale Booye formed، In the Safavi era was a strong and the period of Ghajar to achieve a coherent. It seems Ta''ziyeh supportive of the Safavi kings، was rather than social/political reasons، so religious. Support the Safavi kings، prepared ground for Fiction of Ashura events and Imam Hussain the stories and characters were based on common; He “Mrsyh_sorayy” (lyrics Mourn) the physical inventory process and understand that the strain was a mythical hero. Rulers holding Taziyeh well، its objectives pursued; On the one hand the people showed their and on the other by pointing out the consequences of failure (apparent) caravan of Karbala and the stability of unjust rulers، People would avoid any possible movement. It also has three parts “Taghlid (comedy) and the society sector”; the emergence of environmental and social change، Mashrooteh Movement; Landmark comedy and the society change & Imitation and social stalemate. Iranian traditional Theatres of social needs and in close relationship with the audience of people from all social categories emerged that reflected the society can only recover your life. Reflecting and shaping theories show that the Iranian traditional plays always ring interface and connecting these two theories have a unique work of art. Theatre of each period، Genesis is an accurate reflection of the social conditions of the period، at the same time، the first circle of actors shaping the community''s future. The current population theater contemporary theater should arise; the exact knowledge of the audience and the society now. Command without any official in the interactive relationship، the broken relationships is fundamental.

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 ometimes 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