Editing Ta’ziyeh influenced Theatre (section)

=== Chapter Two. Method of Performing Ta’ziyeh ===
In this chapter the writers try to examine the Ta’ziyeh and its performing elements based on Brecht Theatre and V-Effect.

The basis of Brecht or Epic theatre is the avoidance of the actor identifying with the characters. “Epic or Brechtian theatre does not necessarily have the connotation of a heroic scale, but simply the idea of a loosely linked series of events. In Brecht theatre, for the purpose of separation of the playwright and the audience, the playwright can impose his idea onto the audience.  

In the other hand, the objective of Ta’ziyeh is not only to strengthen moral and religious ideological order in the audience, but also to provoke an internal purifying reaction (cathartic experience for the spectators) like laughing, crying, indignation and excitement. The story has been told to all participants and audiences before. Making the audience to recall the story, Ta’ziyeh refers to the concepts beyond the story, and in the process of performance, puts them before the audiences’ eyes. But in Western theatre principles, this is not recommended and is disfavored.

Ta’ziyeh is based on content, does not look for realism. All the elements of the scene are represented in a symbolic form. It seeks to describe the attributes of the prophets, the superhuman and imams.

''Ta’ziyeh of Hussein ([[Seyyed ol-shohada|Seyed Al Shohada]]) performed during the first ten days of Muharram; on the day of the Ashura which Imam Hussein is martyred, the angels appear to help him but he ignores and chooses martyrized, thus, he flies far off to save other individuals.''