Morphology of Religious Dramatic Rituals of Xarreh in Ashura of Lorestan With the approach of interpretiveism based on the Axsij of ancient Persia as a documentary drama

The purpose of this paper is to study the analytical and etymological religious rituals of “Xarreh”, with an ancient Iran approach based on Clifford Geertz’s symbolic anthropology theory. At dawn, about 100,000 people of Khorramabad, Lorestan, with rituals of water, flowers and rose water (Xarreh) made in the streets and squares, and until noon of Ashura (seven hours) with an allegiant format based on documentation (associations of the meanings) of the Event of Ashura by expressing individual monologues in the important squares of Khorramabad Lorestan display. Religious anthropological hypotheses about this documented ritual are such that it has two basic applications in itself: 1- Continuation of historical citations based on a great event in the Islamic world that does not need to be proven 2- Transformation in the displays who are also drama displays that do not yet know its literary and civic roots. The idea, the bin of thought, the plot and the main form of this documentary indigenous religious ritual are defined based on socio-historical facts and existing documents that are documentary or narrative. The findings show that every year, the people of Khorramabad hold a religious show, with a special glory, and believe that the executive philosophy of this ritual definition the meanings of the facts and documentation of the Desert of Karbala. The results of the author’s four-year research in the field of research and available documents show that this ritual is performed only in Khorramabad, Lorestan, and two main reasons: 1- Association of the meanings of the Karbala desert 2- Artistic taste of the Lor tribe, has led to the filth and permanently of this dramatic structure. Four basic elements of water, wind, fire and soil (Axsij) rooted in the old Iranian literature are also important elements of the documentary ritual of Xarreh. This paper has been qualitatively analyzed using descriptive-analytical and in-depth method based on Branislav Malinowski’s functionalism theoretical framework and Clifford Geertz’s interpretiveism in comparison with documentary drama characteristics.