Mirza ali shafai: Difference between revisions

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| patrons          = From the old Pardekhans  
| patrons          = From the old Pardekhans  
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[[fa:میرزا علی شفائی (میرزا اصلان)]]


'''Mirza Ali Shafai''' (born in 1948) is a distinguished [[Pardekhan]], [[Ta’ziyakhan]], [[Naqqal]] and Curtain painter. Mirza Ali has studied religious sciences and is aware of religious and historical events. He is dependent on expression and narration in performance through technical knowledge. So, a rich expressivity based on the texts and acquired understanding act as the main pillars of his performance. The presential aspects of his performance becomes clear during his singing in general and during [http://www.iranicaonline.org/articles/monajat Monajat], Goriz, <ref>Even these non-Moḥarram plays, however, retain a connection to the tragedy at Karbala through a dramatic device known as goriz, or digression. Within a particular play, the goriz may be a direct verbal reference to Ḥosayn’s martyrdom or a brief scene depicting an aspect of his tragedy, or both. Through the goriz, all ta‘zia drama expands beyond spatial and time constraints to merge the past and present into one unifying moment of intensity which allows the spectators to be simultaneously in the performance space and at Karbala. http://www.iranicaonline.org/articles/tazia.</ref> [[Nowha]], Pandiyat, and [[Du’a]]. <ref>Monajat, Goriz, Nowhe, Pandiyat and Do'a are parts of Pardekhani. </ref>  
'''Mirza Ali Shafai''' (born in 1948) is a distinguished [[Pardekhan]], [[Ta’ziyakhan]], [[Naqqal]] and Curtain painter. Mirza Ali has studied religious sciences and is aware of religious and historical events. He is dependent on expression and narration in performance through technical knowledge. So, a rich expressivity based on the texts and acquired understanding act as the main pillars of his performance. The presential aspects of his performance becomes clear during his singing in general and during [http://www.iranicaonline.org/articles/monajat Monajat], Goriz, <ref>Even these non-Moḥarram plays, however, retain a connection to the tragedy at Karbala through a dramatic device known as goriz, or digression. Within a particular play, the goriz may be a direct verbal reference to Ḥosayn’s martyrdom or a brief scene depicting an aspect of his tragedy, or both. Through the goriz, all ta‘zia drama expands beyond spatial and time constraints to merge the past and present into one unifying moment of intensity which allows the spectators to be simultaneously in the performance space and at Karbala. http://www.iranicaonline.org/articles/tazia.</ref> [[Nowha]], Pandiyat, and [[Du’a]]. <ref>Monajat, Goriz, Nowhe, Pandiyat and Do'a are parts of Pardekhani. </ref>