Le théâtre chiite au Liban, entre rituel et spectacle

Mervin, Sabrina

doi:10.4000/books.ifpo.546

Cited by 4 publications

(1 citation statement)

References 8 publications

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“…18 Based on secondary characters, many episodes of the Imam Hussein martyrdom saga were written as full-length majleses, with titles such as: A'roosi Qassem ( ‫عروسیقاسم‬ , Qassem's Marriage), Khoruj-e-Mokhtar ( ‫خروجمختار‬ , Mokhtar's Exit), Za'n-e-Nasrani ( ‫زننصرانی‬ , Nasrani's Wife), and many others. After this time period, shabih'khani was performed outside present-day Iran in Shi'a communities in Azerbaijan, Lebanon, Iraq, Bahrain, and elsewhere (Aghaie 2004;Jaffri 1979;Mervin 2007;Riggio 1994). Although the complete timeline of the transformation from "processional" or "tableau" shabih' to shabih'khani is not entirely clear (the time span is vast, from 973 to 1787 CE), it is definite that the theatrical 16.…”

Section: From Shabih' To Shabih'khanimentioning

confidence: 99%

Investigating Early Dramaturgy and Theatre Directing in the Shabih’khani of the Qajar Era

Kouchek-zadeh¹,

Azarm²

2022

TDR: Drama Rev

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Scholarly research on shabih’khani, the Iranian traditional performance generally known as ta’ziyeh, has frequently portrayed creators of this theatrical form as religious devotees with little or no theatrical knowledge and expertise. Yet, newly discovered manuscripts from the Qajar era (1789 to 1925 CE/1168 to 1304 SH) contain annotations and stage directions that can be interpreted as directorial notes and dramaturgical enhancements.

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Section: From Shabih' To Shabih'khanimentioning

confidence: 99%