چکیده:
Among the surviving Pahlavi writings from before Islam, Yadgar Zerran is a play that, in terms of text structure, themes, and its probable method of performance, reflects the Iranian worldview in dramatic art. On one hand, this text is an epic about the religious war of the Iranians, followers of Mazdayasna, against the Turanians, followers of Daevasna; on the other hand, it is a Ta'ziyeh-style play mourning lost heroes. The confrontation between the good and the evil, as one of the foundations of Iranian thought—manifested as belief in death and resurrection and fatalism—has taken on a dramatic aspect in both the Pahlavi text of Yadgar Zerran and the narrative of Ferdowsi's Shahnameh, and after centuries, has once again been embodied in the Shabih-khani of the Islamic era; such a characteristic is the result of the continuous influence of the Iranian worldview on the dramatic arts of this land.
خلاصه ماشینی:
Journal of Iranian Studies Center for Research of Iranian Culture and Languages Shahid Bahonar University of Kerman Second Year, Fourth Issue, Autumn 2022 The Influence of Iranian Worldview on Some Dramatic Features of Yadgar-e Zariran (A Comparison between the Pahlavi Text and Ferdowsi's Shahnameh)*(Scientific-Research) Ali Sheikh-Mahdi PhD Student in Art Research Dr. Mahmoud Tavousi Professor at Tarbiat Modares University, Tehran Abstract Among the surviving Pahlavi writings from the pre-Islamic era, Yadgar-e Zariran is a play that, in terms of text structure, themes, and its probable method of performance, reflects the Iranian worldview in the art of drama.
After centuries, it has once again appeared in the Shabihe-khani (religious reenactments) (*Date of article receipt: 2022/07/27; Date of final acceptance: 2022/10/22) Author's email address:- has been embodied in the Islamic era; such a characteristic is the result of the continuous influence of the Iranian worldview on the performing arts of this land.
, who were contemporaries of the kings of ancient Iran; for example, citing Plutarch, when Alexander the Great overthrew the Achaemenid dynasty, there existed theaters in the cities of Kerman and Hamadan similar to those in Greece; or they have mentioned observations regarding Iranian customs, such as what Herodotus recorded in the fifth century BC regarding the Magian ceremonies, or Xenophon, a contemporary of Cyrus the Second Achaemenid, who reported on the dramatic dance performed by Iranian warriors.
Among the remaining pre-Islamic works, the Pahlavi text Yadgar-e Zariran is actually considered a play that, in terms of structure of text, style of Performance, and also certain themes, reflects the Iranian worldview in the art of performance, which after centuries has continued in Shabih-khani, the only prominent dramatic form of the Islamic era.
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