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Described by the distinguished theatre director Peter Brook as "a
very powerful form of theatre," the Ta'ziyeh is the Islamic drama
of Iran. This work examines the evolution of the Ta'ziyeh, which
involved elements drawn from Zoroastrianaism, Mithraism, mythology,
folklore and traditional forms of Iranian entertainment.
In its final form, most of its elements - plot, character, thought,
spectacle and song - derive from the Shi'a branch of Islam. Its
main plot concerns the suffering and death of Imam Hussein,
grandson of the Prophet of Islam. In 680 AD he and his family were
massacred in the Karnala Plain near Baghdad by the soldiers of the
Caliph, Yazid. The Ta'ziyeh's highest point came during the reign
of Nasseredin Shah (1848-96), who built a magnificent playhouse,
the Takieh Dowlat, in Tehran. In the 1930s it was banned by the
Pahlavi regime, and Ta'ziyeh groups were forced to take refuge in
remote rural areas. In the 20th century it was attacked by
pro-Western and nationalistic movements whosaw performances as
encouraging social stagnation. Despite the setbacks, today it is
still possible to see performances of the Ta'ziyeh throughout Iran.
Described by the distinguished theatre director Peter Brook as "a
very powerful form of theatre," the Ta'ziyeh is the Islamic drama
of Iran. This work examines the evolution of the Ta'ziyeh, which
involved elements drawn from Zoroastrianaism, Mithraism, mythology,
folklore and traditional forms of Iranian entertainment.
In its final form, most of its elements - plot, character, thought,
spectacle and song - derive from the Shi'a branch of Islam. Its
main plot concerns the suffering and death of Imam Hussein,
grandson of the Prophet of Islam. In 680 AD he and his family were
massacred in the Karnala Plain near Baghdad by the soldiers of the
Caliph, Yazid. The Ta'ziyeh's highest point came during the reign
of Nasseredin Shah (1848-96), who built a magnificent playhouse,
the Takieh Dowlat, in Tehran. In the 1930s it was banned by the
Pahlavi regime, and Ta'ziyeh groups were forced to take refuge in
remote rural areas. In the 20th century it was attacked by
pro-Western and nationalistic movements whosaw performances as
encouraging social stagnation. Despite the setbacks, today it is
still possible to see performances of the Ta'ziyeh throughout Iran.
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