Abstract:
Ta’ziyeh (Shabihkhani) is a ritualistic, traditional, narrative, poetic, and musical performance that originated from the mourning rituals of Iranian Shiites for their third Imam. Centered around the events of Ashura, this form of theater relies on symbols, signs, and fixed conventions in both its text and performance. Due to these characteristics, particularly its ritualistic function, some scholars have classified it as a "holy performance," while others have raised doubts about this designation.
This research, recognizing the importance of understanding the dramatic heritage of Iran, draws on the perspectives of traditionalists, notably Titus Burckhardt, and other theorists in the field. It seeks to address the question: Can Ta’ziyeh (Shabihkhani) be considered a holy art and a holy performance? If so, or if not, why? And based on this, through a descriptive-analytical approach and an examination of various aspects of Ta’ziyeh (Shabihkhani) performances, the study has concluded that, at least in its entirely ritualistic and commemorative gatherings, Ta’ziyeh can be considered as holy art and holy performance. As a traditional performance, it connects with eternal truth, serves a ritualistic function, and acts as a mediating link between the participants (both audience and performers) and the eternal truth. By embodying the defining traits of holy and traditional art, Ta’ziyeh manifests religious and mythological beliefs.
Keywords: Ta’ziyeh, traditional art, holy art, holy performance, Titus Burckhardt.