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Download (12Mb) University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36312 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Taziyeh: History, Form and Contemporary Relevance By S.M.Reza Alemohammed Dissertation Presented For The Degree of Ph.D. University of Warwick Joint School of Theatre Studies January 1995 .. — %_'a __. S • i1Lt,t fl/ ii ui., L(tj (j.L)s1 The poster of performances, on the day ofAshura, in Tekiveh Dowlat 1879. The fourth performance was "The martjrdom of imam Ilusrein" V,vm 4,uuso,. Jabber 7 hi Tehran: 1992. Con tents Acknowledgments . iv Glossary....................................................................................................vi Listof Illustrations ............................................................................................viii Preface.....................................................................................................x ChapterOne: What is Taziyeh (Passion play).....................................................1 TheStaging Conditions of the Taziyeh; .........................................8 a; Acting and Performing...............................................................8 b; Design and Props in the Taziyeh..............................................18 C; Music in the Taziyeh................................................................22 d; Language of the Taziyeh..........................................................25 The Content and Order of Majlises of Taziyeh (during ten days of Muharram)....................................................36 Chapter Two: The History of Imam Hussein and the Ceremonies Commemoratinghis Martyrdom..................................................46 a; A Brief History of the life of Imam Hussein and hisMartyrdom.........................................................................46 b; Mourning Ceremonies for the Martyrdom of ImamHussein.........................................................................59 ChapterThree: The True Roots of Taziyeh ......................................................76 a; Historical Ground of Dramatic Features...................................76 b; Mythical Ground.....................................................................91 C; Literary History of Iran after the Advent of Islam.....................99 Chapter Four: Historical Development of the Taziyeh.....................................125 a; From Procession to Dramatisation........................................125 b; Taziyeh in the Kajar Dynasty.................................................141 c; The Development of several different types of Taziyeh ..........151 11 Chapter Five: Contemporary Critical and Scholarly View of Taziyeh .............160 Taziyeh in Comparison with Greek Drama, Medieval Plays, ModernDrama..........................................................................167 a; Greek Drama.........................................................................169 b; Medieval Drama....................................................................172 c; Taziyeh and Modern Drama...................................................174 ChapterSix: Taziyeh Today............................................................................180 a; A Brief Study of the Revolutionary Movements in Iran..........180 b; Modernisation and Westernisation.........................................182 c, Taziyeh after the Islamic Revolution in Iran ...........................188 d; Religious Criticism of the Aberration in the Taziyeh...............193 Illustrations.................................................................................................220 AppendixOne .................................................................................................240 AppendixTwo ................................................................................................241 AppendixThree................................................................................................242 AppendixFour.................................................................................................243 Bibliography.................................................................................................244 111 Acknowledgments It is my great pleasure and honour to express the most conspicuous debts of gratitude to Mr. Clive Barker, my supervisor, who generously and kindly led me towards his immense and vast knowledge and experiences of the world theatre. I account myself very fortunate to have enjoyed his experiences and supervision on procedural as well as scholarly concerns throughout the term of my graduate study and the benefits I have gained from working with him go beyond the writing of this thesis. I have learned from him a great deal about the discipline of Theatre Studies. I also owe him sincere thanks for his invaluable advice, criticism and consummate patience and forbearance throughout the term of writing. The quality of the final manuscript and its overall legibility have benefited immensely from Mr. Barker's insightful, lucid comments as he acted as a constant advocate for the work displayed here. I must express warm appreciation to Professor David Thomas who kindly created an opportunity for me to do my research in the Joint School of Theatre Studies. I would like to thank Ms. Kate Brennan, the secretary of the theatre studies department, who kindly made available the use of equipment and facilities of the department. My thanks are also due to Mrs. Pauline Wilson, of the word processing unit, who taught me to use the facilities of this unit and helped me to prepare this thesis in final shape. My greatest burden of obligation at all stages of the work at hand and during all phases of my study in England is to my wife Vajiheh and my sons Amir Hussein and Mohammed Backer for their help, support, encouragement and most iv significant their suffering. They sacrificed themselves to enliven the period of the study and lit the darkness of the days of loneliness and exhaustion. I owe a deep personal debt to my father and mother who generously volunteered their time and enthusiasm to support and encourage me during all places of my education. I also like to thank my brothers Mohammed, Abuihassan, Jalal and my sisters Esmat, Minoo and Mina for their encouragement. I would like to take this opportunity to present my appreciation to my wife's family for their kind support I am grateful to thank Mr. Hojati Kermani, Harati, Mehdi Chamran, Mohammed Taghi Hakim, Saifian ,Parviz Ahmadi and Karami for their great efforts to maintain a ground for the sponsorship of me and other students in the theatre studies field. Thanks to Dr. Mehdi Forough and Mr. Jabber Anassori for their scholarly support. I would like to present my thanks to my friends for their encouragement Mr. Mohsen Afghah, Mohammed Reza Ghodsi, Mehdi Tayebi Jazayeri, Feridon Aliyari, Abulghaseem Kakhi, Reza Ghadimzadeh, Ahmad Fard, Ghaeni and Salar Amuli while tacitly mindful of many others. Many thanks are also due to all the members of staff of The University of Warwick and University of Tebran for their efforts in keeping a mature and graduate at peace with the world. V Glossary The following glossary list shows, names quoted in various written forms within different sources. Abolfazl, Abulfazll. Abumoslem, Abomoslem, Abomoslim. Au, Ally, Alee. Au Akbar, Mi Akber, Alee Acbar. Mi Asghar, Mi Asgar. Amr-Ibn Sad, Amr-Ibn Saud. Ashura, Ashora. Fatimah, Fateme, Fatemah. Ferdowsi, Firdausi. Hassan, Hasan. Hussein, Husain, Husyn, Hossein, Huoossien, Husayn, Housin, Husseyne, Hoossien. Hur, Hurr. Imam, Imaum. Iraq, Irak. Iskandar, skandar. Kajar, Qajar. Kassem, Kassim, Kasim, Kaussem, Qassem. Kikawos, Kaykavus. Kofa, Kofe,Koufa, Kufa, Kufe, Cufa. Koran, Quran, Coran. Majlis, Majies, Medina, Madinah Moharram, Muharram, Moharrem, Muharam. Moslim, Moslem, Muslem, Muslim. Moaviyah, Moawiah. Mokhtar, Muchtâr. Muhammad, Mohammad, Mohammed,Muhammed, Mohammadan, Mahomet, Mohometan. Ommids, Ommiades, Umayyads, Umayyas. vi Omar, Omer, Umar. Orwauh, Orva. Pahiavi, Pahiawi. Ramazan, Ramadan, Ramedan. Reza, Riza, Rida. Rostam, Rustam Rowzeh, Rouzeh., Rodeh, Rouze. Rookeeya, Rookheeya, Rughieh. Sâdi, Sa'di. Safavian, Safavid. Sassanian, Sassanid, Shahname, Shahnamah, Shahnameh. Sheah, Shi'te, Shi'a, Shi'i Shemr, Shimr, Shamer. Siyavush, Siawosh. Suhrab, Sohrab Taziyeh, Tazyas, Tazieh, Ta'zieh, Tazeeya, Taziyd, Ta'ziye, Taazieh, Tazeh, Taziêh Takya, Tekiyeh, Tekeyeh, Teke, Takiyah. Yazid, Yazeed, Yessed. Ziad, Ziyad. vii List of Illustrations 1- Dusk of Ashura by Mahmuod Farshchian..............................................221 2- The images of three gods dancing...........................................................78 3- Fragments of bronze vessel, describing dancing of gods.........................79 4- The image of two dancers with mask.......................................................79 5- Three images of Persians and Romans ....................................................85 6- Mourning for Siyawosh ..........................................................................95 7- Two Characters from the play called "Shast basten-i Div tying up the thumbs of the Demon..........................222 8-
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