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The
Congress
of
Isfahan
School
Dramatic
Arts
Opened |
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On
Sunday,
December
10 the
Congress
of
Isfahan
School
Dramatic
Arts was
officially
opened.
As the
Public
Relations
of the
Academy
of Arts
reports,
at the
beginning
of the
session
which
had a
particular
emphasize
on ta'zyeh,
the
scholarly
secretary
of the
Congress
of
Isfahan
School
Dramatic
Arts,
Tajbakhsh
Fana'eian
said:
"Our
dramatic
arts
have not
been
forgotten
but as
the
result
of
ignorance,
they
have
been
pushed
to the
margin,
while
the
potentiality
of our
dramatic
arts are
transferred
generation
by
generation,
so they
must be
demarginalized
and
should
be put
under
consideration
and
preservation.
Unfortunately
through
many
years we
just
confined
ourselves
to
teaching
the
Western
subject
matters
and
techniques
of the
dramatic
arts
while we
could
pay more
attention
to the
identity
of our
dramatic
arts. We
hope
that
during
the
Congress
of
Isfahan
School
Dramatic
Arts and
the
pathology
of ta'zyeh
in Iran,
the
forgotten
artistic
capacities
are
streamlined
again.
Also we
hope
that
while
the
historical
extend
of our
dramatic
arts is
considered,
we can
find an
opportunity
to
observe
its
scholarly
features."
On the
issue of
the
Iranian
traditional
drama,
Dr.
Mahmoud
Azizi
asserted:
"We
live in
a
country
where
has
always
been a
crossroad
for the
various
and
mixed
cultures
and we
have
less
regarded
our 
own
native
values.
This
problem
is open
to
discussion
that why
we
haven't
been
able to
establish
a
national
theater.
Probably
one of
the
reasons
is that
we have
obviously
approached
to the
Western
theater.
On the
other
hand,
while we
explore
the
issue,
we
realize
that the
first
origins
on of ta'zyeh
have
been
established
in Iran
and
evidently
the
patronages
of
Safavid
kings
have
played
important
roles in
the
emergence
of such
a
dramatic
art.
Therefore
I hope
that our
relation
and
bondage
to our
local
arts,
particularly
dramatic
arts
come to
the new
terms
and in
this
process
an
academic
board
will be
constituted
to
empower
our
dramatic
arts
more
than
before."
"The
culture
of pardehkhani
and naqali
(dramatic
narration)
was
emerged
in the
foreground
of the
society
and
simply
among
the
masses.
As a
matter
of fact,
this
culture
was a 
medium
for
expressing
the
social
requirements
which
demonstrated
in such
forms.
In 1994
big
issue of
the
combination
of
cultures
and
essentially
of the
global
village
was
raised.
But in
these
terms, I
suppose
that
each
nation
should
firstly
realize
its own
nativity
and then
plays a
role as
a ground
for the
acceptance
of the
culture
of other
countries,"
he
added.
Indicating
to the
foundation
of
theater
Museum
by the
Academy
of Arts,
he
remarked:
"After
years of
successive
efforts
to found
such a
museum,
the
Academy
of Arts
could
get the
approval
for
implementing
the
project.
Indeed
such a
museum
can
enhance
the
academic
knowledge
of
theatrical
groups.
Also it
would be
an
appropriate
locale
for
teaching
naqali
and
rou-hozi
(a kind
of
popular
theater)
to the
enthusiast
young
people."
Following
the
session,
after
the
lecture
of Dr.
Azizi,
an
Iranian
traditional
narrator,
Seyyed
Mostafa
Sa'eedi
performed
manqabatkhani
(praising
the holy
prophet
Muhammed)
and
meanwhile
called
people
for
sincerity
and good
creed,
then he
and
began
narrating
an
anecdote
about
Imam
Reza and
Ma'amoun
(the
Abbasi
Khalifeh).
While
considering
briefly
a number
of signs
in ta'zyeh,
Dr.
Farshid
Ebrahimian
stated
about
the
mystical
aspects
of
ta'zyeh
and
referred
to
several
symbols
of a
poem
composed
by
Mulana
Rumi to
elaborate
on his
discourse.
After
his
brief
and
symbolic
speech,
morshed
(maestro)
Hassan
Mirza
Ali
performed
the
drama of
paredhkhani.
While
Mirza
Ali was
narrating
paredhkhani,
he made
a short
statement
and
said:
"I
hope
people
and the
new
generation
don't
ignore
these
kinds of
traditional
arts,
since
those of
us have
suffered
many
ordeals
to
preserve
and grow
such
arts.
Certainly
the art
of paredhkhani
must be
patronized
and
enabled
to
follow
their
paths
more
persistently
than
before."
Focusing
on the
discussion
of post
metaphysical
time in
Iranian
ta'zyeh,
Dr.
Hamid-Reza
Ardalan
remarked:
"At
the
heart of
taz'yeh
paintings
there is
a kind
of
attention
to the
science
is
considerable.
In
Iranian taz'yeh
the time
is
unstable.
It means
that shabih-s
have a
different
relation
with
time.
Nevertheless,
taz'yeh
finds
its
direction
through
a
metaphysical
passage.
Taz'yeh
is the
essence
of
whatever
happens
in the
world
and
finds
its
credit
from the
martyrdom.
In this
between,
the
martyr
embodies
the
death of
consciousness;
he
dramatized
his
consciousness
to
become
eternal
in the
entire
realm of
the
world."
The next
lecturer,
Dr. Ali
Boloukbashi
referred
to the
social
functions
and
influences
of taz'yeh,
"Those
who
recite tazyeh,
work at
the
heart of
a
traditional
society,
a
society
which is
totally
traditionalist
and
epical. Ta'zyeh
has an
influence
on the
religious
society,
moreover
in terms
of
teaching
the
historical-religious
issues,
has been
able to
overshadow
the
society 
in
some
moments,
on the
other
hand tazyeh
plays an
important
role in
introducing
the
models
and
making a
culture
for the
public.
As a
matter
of fact
we must
bear in
mind
that tazyeh
has had
a
profound
and
remarkable
impact
on the
Iranian
literature
and
art,"
he
asserted.
"In
a way tazyeh
is the
essence
of our
religious
costumes
and
rituals
which
finally
leads to
the
grand
event of
Karbala.
One of
the main
tasks of
tazyeh-khan
is that
he
teaches
the
history
of Shia,
the
faction
which is
symbolized
by the
extraordinary
event of
Karbala.
Taz'yeh
is a
dramatic
art
which
have
always
been
performed
in
squares
and all
the
time,
there
have
been a
kind of
opposition
between
the
scene of
tazyeh
and the
altars.
From
time to
time
people
have
acquainted
with the
movements
and
words of
ta'zyeh-khan
because tazyeh
has
always
been a
kind of
historical
expression
on the
scene.
In this
way tazyeh
in
various
aspects
has a
modeling
function
and the
messages
of
wisdom
can be
heard
and
received
through
it,"
he
added.
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