چکیده:
Ta’zieh is an intertwined set of traditional Iranian music, Iranian classic poetry and Shabih-khani (speech-visual intertwined narration). The central theme (or subject) of Ta’zieh is representation of siege and massacre of Karbala desert Iranian traditions are used to illustrate and retell events commensurate with [the quality of] events and dialogues in the Ta’zieh scene. In other words, Iranian folk culture is dominant on these stories it seems that representation as a human talent, is an element which at the base of Iranians social life conditions, is considered as the origin or the element of beginning of history of Tazieh. It should be noted that, this meaning is not limited to Iranians. Meta representation is an asset which is equally in the mind of all humans.
خلاصه ماشینی:
"Interestingly, this character with this special background is converted to a common character when the events of his life are narrated by ta’zieh performers (for example, he wrestles, cries and complain like other people when his son is going to be killed.
Farrok Ghaffari also in the book "Iranian Theatre" has depicted the development of Tazieh as follow: 1) The origin of lamentation performance has to be probably searched in ceremonies such as killing of a hero like Siavash in pre-Islam Iran.
The American researcher who has published the results of his study in a book with the title of "How animals grieve?", believes that our ways of mourning maybe unique but human capacity for sorrow and grief is something we have in common with other animals (2013:67) because animals are intelligent too, they learn and solve problems and they search and discover (Dortiye, 2012: 186) Some people refer the zero point to a remoter time which means ancient Iran (pre-Islam Iran) and Siavash mourning ceremony.
Here, an example is expressed to better understand the recent subject1: Ta’zieh performers and writers use Khoon-Solh tradition for narrating and representing what is called "Hur repentance" in Karbala.
Jaber Anasori refers to the same case in the book "Shabih-khani, the old model of Iranian plays" (1993)" "myths and examples privacy are mixed calling that perform Hussein ibn Ali grief on Shabih-khani scene.
In fact, by turning Shabih-khani techniques (like armor) to the world of myth, Anasori believes that Iranians use their traditions commensurate with [the quality of] events and dialogues of ta’zieh performers to demonstrate and narrate the events (Azdanlo, 15, 2006)."