ABSTRACT

This chapter aims to explore how the Ta'ziyeh symbols were employed during the 1979 Revolution to create an anti-Shah public sphere in Iran. It examines how the symbols of Shia ritual performances were employed during the 1979 Revolution to create an emotional reaction and to shape the public sphere. The chapter focuses on Iranian improvisatory theatre and what it encompasses, as its common traits and characteristics are visible and practiced in all performances such as siyah bazi (playing black), naqqali (dramatic storytelling), taqlid (imitation), shamayel gardani (directing/carrying of the icon) or pardeh dari (holding of screen) or pardeh khani (screen-based storytelling), kheimeh shab bazi (puppet theatre), ruhauzi (over the pool) and Ta'ziyeh or shabih khani (play of impersonation). The most significant point is that all the differences between ruhauzi and Ta'ziyeh disappear in the performance of Ta'ziyeh Mozhek. Transforming an unsatisfactory situation into symbolic issues, remained the main task of the revolutionary clerics in the 1979 Revolution.