Editing Ta’ziyeh influenced Theatre (section)

=== Chapter One. Evolution of Ta’ziyeh ===
In this chapter the writers give information about background of Ta’ziyeh and its historical and religious structure:

Ta’ziyeh appeared initially in Iran as part of the observance of [[Ashura]] for the commemoration of [[Imam Hussain|Imam Hussein]] and his family during the month of [[Muharram]]. This event is part of the annual cycle of religious observance in Iran. Ta’ziyeh is also performed in several other countries, such as India, “Iraq”, Indonesia and Malaysia. However, only in Iran and India has the tradition developed into a formal ritual ceremony. It is classified in the group of behaviors in which historical and religious episodes have been grown in the folk lore along with belief and myth and appeared as ritual-religious play. It contains valuable parts of Iranian myths and stories. The episodes of each Ta’ziyeh specifically mix myth and story. In this way, Iranians justify history and give eternal and spiritual concepts and meaning to the life and calamities of their historical heroes.

Ta’ziyeh is made on the confrontation and conflict between ‘good’ (Hussein, [[Zaynab|Zainab]], Rabab or Laila) and ‘evil’ ([[Shimr b. Dhi l-Jawshan|Shemr]] and [[Omar Ibn Sa’d|Ibn Sad]]). This fight between good and evil is not abstract.

The performers do not play roles in Ta’ziyeh but try to impersonate the role olya (approving actor) and ashghya (disapproving actor). Interestingly, all actors in Ta'ziyeh are men and this type of Ta'ziyeh is performed in public. Another shape of Ta'ziyeh existed that is known as ‘feminine Ta'ziyeh’ whereby all the actors were women and it was only performed at women's gatherings.

One of the important characteristics of Ta’ziyeh is that it is narrated in a language and expression which is understood by everyone to some extent depending on their wisdom and knowledge.