Suchergebnisse

Persian letters and scenes of Iran 29 For example in Khayyâm, the marriage vocabulary intervenes when the author cannot easily express his ideas about the course of the world and the fate of man in his terrestrial life. Thus, in the traditional form of wire puppet known today as Kheymeh shab bâzi, literally 'the nocturnal game of castelet', the Black Mobârak valet faces power, namely sultan or shah. This is reflected in gestures, jokes often consisting of word games and voice productions throughout the performance. In order to understand it more, it is important to bear in mind the development of this marriage representation, which, in its current form, dates back at least to the end of the nineteenth century. It is held in a cloth castelet supported by wooden bars, a tent in which the masterman hides and prepares his puppet to handle each of them in turn. The viewer contrasts them through a rectangular opening serving as stage, adapted to the size of the puppies, between 25 and 30 cm. The master of the small château moves in front of it, accompanies the musician with his entertaining songs and announces the start of the show. After this prologon, the master (hidden again behind his château) brought the first puppies onto the scene. They are held by two or three sons. The former are often danseuses which, by bringing a gay and festive atmosphere to the performance, attract more audiences. The dance scene continues for a few minutes, the time the public moves to settle. The first married character, with the acute voice produced by a device installed in the mouth of the marionnettist, enters stage and surprises the audience with its jokes. The Morched starts its dialogues by asking him a few questions to announce history. It was at that time that we realised the dual speech of this show: one produced by the distorted voice of the Safir, a small sifflet (the 'practice' in French), and the other by the master reinterpreting the words of puppies. It is in this gap that the comic is formed and the spectator welcomes ...

Abstract
As a practice and experience, ta'zieh lies at the crossroads between ritual and performance, collective lament and recollection, literature, and folklore. Focusing on the experience of the spectator, this paper discusses ta'zieh's liminal status and diverse functions in Iran today. This study is based on observations gathered during fieldwork in the fall of 2017 in Tehran (Grand Bazaar), Isfahan (Falāvarjān), and Kashan (Nushābād). By way of comparison, we further reflect on a video installation by Abbas Kiarostami presented at the Centre Georges Pompidou in Paris in 2003, which challenges common assumptions about the aesthetic and religious effectiveness of ta'zieh. The contrast allows us to elucidate how, by renovating ancient narrative forms, contemporary Iranian performing arts partake in the shaping of individual affects as well as communal emotions.