چکیده:
Bahar-e-Tawil is one of the most widely used forms in folk literature, which arises from the consecutive repetition of a single healthy metrical foot chosen by the poet. This type of poetry has become famous as Bahar-e-Tawil due to the increase in the number of feet and the resulting lengthening of the hemistichs. The musical diversity and dramatic capability of Bahar-e-Tawil have provided the basis for the popularity among the general public and folk poets, giving it the ability to compose poems with storytelling and dramatic themes that have attracted public attention. The present essay, using a descriptive-analytical method and utilizing library research techniques, examines folk Bahar-e-Tawils and presents its results using qualitative content analysis. By examining the Bahar-e-Tawils, it was found that most of the compositions created in this poetic form possess a dramatic aspect, and almost all elements of interest to playwrights are observed in them. Dramatic Bahar-e-Tawils are classified into three categories: a form of solo performance and one of the subcategories of Naqqali, all or parts of a Ta'ziyeh, and a type of performance for reading. The most important dramatic aspects of Bahar-e-Tawil include: the presence of actors, unity of time, place, and subject, conflict and struggle, hero-making, dialogue, language, and tone. One of the important differences between dramatic Bahar-e-Tawils and the performance within them is that the author or narrator in this literary genre grants themselves the right to enter the stage whenever necessary by creating a rupture in the story flow and the dramatic process to remind the audience of various points.
خلاصه ماشینی:
The most important dramatic aspects of Bahr-e Tawil include: the presence of actors, unity of time, place, and subject, conflict and struggle, characterization, dialogue, language, and tone.
One of the important differences between dramatic Bahr-e Tawil and drama is that in this literary genre, the writer or narrator grants themselves the right to enter the stage whenever necessary, by creating a rupture in the story flow and the dramatic process, to remind the audience of various points.
Therefore, searching for a way to utilize the capacities of past cultural experiences and creating a link between different cultural sectors is the main issue of this research, and with the focus on Bahr-e Tawil, we intend to demonstrate some aspects of the dramatic capacities of this exciting and efficient literary form.
What brings the Bahr-e-Tawil reader close to a solo performance is that he, just like the Naqqals, knows well that "where the story is exciting for the people and how to tell it to excite them more, by creating pauses in the narration, giving rhythm to the words, moving hands and head at appropriate times, stretching the subject, sometimes whispering and sometimes shouting without interval, sometimes trembling the voice, clapping hands together and striking feet on the ground, and also by keeping the event suspended in a sensitive place, keeps the spectator in a pleasant state of excitement.
(
, 
, 
)
