The term "TA'ZIYEH" refers to an Iranian dramatic genre which might be compared to the Western Passion Play and is the only indigenous drama of the entire Islamic world. This ritual drama has both an Islamic and a Persian heritage, the central theme of which is the tragic and heroic martyrdom of Imam Husayn, the grandson of the Prophet Mohammed and the third Imam of Shi'ite in the desert of Karbala in 680 A.D. Shiites believe that Imam Husayn sacrificed his life to be their Intercessor on the Day of Judgment.The history of TA'ZIYEH did not begin with the events at Karbala rather it dates back to pre-Islamic culture as well as the dramatic expressions of both the Memorial of Zarer3-a religious epic from the Sassanid era, (226-652 A.D.), and the Tragedy of Siyavush,-a work from ancient Iran, which precedes the Ta 'ziyeh play by 1,200 years.The tradition continued from an early processional form to the Magtal-Khani (a recital of martyrdom stories), until it took a dramatic shape. Further, both the playwrights and the structure of the Takiyeh performance building, its performance site, contributed to the evolution of TA'ZIYEH. In this paper, the emphasis is to demonstrate the character of TA'ZIYEH, its foundation and, the development of its various elements. It also attempts to reveal, from an objective stance, its value to a people who embrace it as a kind of ritual, both a holy and national art form. TA'ZIYEH is a kind of ritual drama which has fascinated some of the world's most famous theatre historians, critics, and performers, who view in it some elements of the postmodern theatre.

TA'ZIYEH as the most important method in religious and ritual theatre in Iran has many capabilities which can be used in modern visualization. The only element in this theatre which has been studied is distancing in performance styles. But by studying the existent versions of TA'ZIYEHs, there are other elements for recognition and use, which has not still been studied.The relationship between religious and ritual theatre with TA'ZIYEH and also their main themes helps to identify these elements and their capabilities. Meanwhile, the presence of music as an expressive and performing element provides a basis which can be used in finding a new manner of expression in visual/dramatic works (such as music videos).Studying on such elements as time-place interlace, character replacement, functions of music, and their effects on audiences, shows that TA'ZIYEH has specific capabilities in visualization (even in Cinema and Media). This article, through capitalizing on this subject and introducing one paradigm (Moses and poor Pilgrim), and comparing two versions of it, tries to represent these capabilities, and illuminates TA'ZIYEH's abilities for modern (and even postmodern) visualization.

The religious scholars' society is one of the main elements of the Ta'zi'ah and the most important one, and by studying the discursive space of the religious scholars community, changes can be made in this regard. The main purpose of the research is to analyze the discourse governing the religious scholars community and how the dominant discourse on the religious scholars community was to promote ritualism in TA'ZIYEH. In the study of the approach of religious scholars in Hossein Ta'zieh, Robert Mortene's theory of rituals of worship has been used. The research method is the type of qualitative research and the applied technique is the discourse analysis technique. In the study of the concepts of the analysis of the discourse of Lacla and Mouffe and in the study of the causal nature of this approach, the analysis of the discourse "Norman Frecklass" has been used. . The findings of the research show that in the discourse governing the community of religious scholars, in comparison with the past, there has been a ritualistic and unusual approach, and it seems that the continuation of this discursive process by religious scholars, itself, promotes religious ritualism in Will be tainted.

The concept of Tashbih (Imitation) is believed to be the cornerstone of philosophical theme in TA'ZIYEH (Persian passion play). Furthermore, without the decree of Shiite theologians on philosophical theme of Tashbih, TA'ZIYEH would not have fully developed in form and context, as it exists today. A historical review of TA'ZIYEH would reveal that the changes could not occur without the positive compatibility of Tashbih. During early stages of the formation of TA'ZIYEH the idea of Tashbih became a subject of much debate among Shiite theologians and scholars. With the development of TA'ZIYEH and its influences on people in expressing Shiite philosophy combined with Tragedy of Karbala, Shiite theologians came to realization and transition to create an environment consistent with Tashbih and issued a decree for it. This led to further propagation to ensure the survival of its form and content in order to gain a deeper foothold in public arena.

TA'ZIYEH is a form of Iranian musical pageant that is the theatrical expression of religious passion; based on the Battle of Karbala and performed annually. The nucleus of the taziyeh is the heroic martyrdom of Imam Hussein (p.b), the grandson of the prophet Muhammad (p.b) and has inspired by Culture, literature and ancient Persian mythology. TA'ZIYEH has taken a deep relationship with many factors including: religion, myth and folk tales of traditional society and culture.The purpose of this article is to represent how ritual and religious identities, can be expressed in the visual arts of Mazandaran. After review of the foundations and taziyeh's concepts, this paper detects relationship of taziyeh, with ritual and religious identity and reflects the impact of Archetypes and Myths in the visual arts of Mazandaran in Qajar era. After analysis of designs, this result was obtained that: religious contents of Taziyeh's literature had the greatest role in decorating Saqanefars buildings.

This article seeks to explain that any fundamental study about TA'ZIYEH inevitably leads to a chronological investigation of theatrical play in Iran. Therefore, this article, has reviewed the studies conducted by western and Iranian scholars in this field and the eight approaches, using documents and the library references, and employing a historical-expository methodology. Finally, it draws the conclusion that these scholars’ persistence in finding a single origin for the Iranian theatrical play of TA'ZIYEH has led them to ignore its extensive connection with other possible original sources; hence, there remains a lot to be explored about the theatre in Iran.

The ideas and theories of Ibn Miskawayh play a significant role in the theoretical foundations of Islamic culture and civilization. A substantial part of his intellectual and theoretical foundations can be identified in the historical trajectory of TA'ZIYEH through textual analysis of the concepts and components he has discussed in this regard. Historical analysis of TA'ZIYEH can uncover important aspects of Ibn Miskawayh's thought, which are hidden beneath the apparent and explicit meanings of key concepts and terms. Findings indicate that during the Muharram ceremonies, individuals exit their daily individualistic lives and reconnect with the social world and collective conscience (Zarchini, 2016). For this reason, the social cohesion and moral authority intertwined with these rituals are strengthened and reproduced. Participation in the mourning rituals of Muharram fosters a sense of belonging to a collective identity and social distinction, connecting individuals to the collective conscience by setting aside their individualism. This is particularly evident during the first ten days of Muharram, when the freedom and free thinking inspired by the epic of Ashura are showcased throughout Islamic Iran.

In this article, the linguistic elements of folklore culture of TA'ZIYEH in Southern Khorasan are analyzed. To this aim, elements such as idioms, conjunctive verbs, titles, acknowledgments, murmurs, swear words, allegories, lullabies, proverbs, curses and words, are extracted. Then, each of these linguistic elements is presented with samples based on the method borrowed from Iranian Folklore Language and Literature and critically and analytically reviewed. The reviews show that the linguistic elements of the culture of Southern Khorasan's people are imported through the verses of TA'ZIYEH, as indigenous words, idioms, allegories, new compositions and other linguistic elements. These have undoubtedly profoundly influenced on the creation of the TA'ZIYEHs, or at least the recreation of them, and has brought the language of TA'ZIYEH into the simple and common language of the people, thus, providing easy and simple expressions of cultural and expressive values. This has distinguished the language of the TA'ZIYEH from the official language. On the other hand, the texts of the TA'ZIYEH show that due to the proper links and connections among the constituent linguistic elements, the sentences in the texts of the TA'ZIYEH have a proper consistency and cohesion as well as suitable massages and expression.

It is similar to the reading or TA'ZIYEH of authentic Iranian art created to disseminate the culture and concepts of Ashura centuries after the real Ashura. A phenomenon that results from a combination of Islamic thought and doctrine and Islamic teachings can be explored in different aspects. There are many ambiguities and questions about the formation of this theatrical ritual, including what we see today as TA'ZIYEH or similitude for the first time in history? The Safavid, Afsharid, Zand, and Qajar periods are the most likely courses that have drawn contradictory opinions from experts. Finding the answer to this question will first show the antiquity of this theatrical ritual and secondly prove the Iranian authenticity of the art against the assumption that it is imitative from the West. A review of the expert opinion, historical documents and reports, and tourists' travelogues in this study will guide us to the end of Zand era in a library and analytical and descriptive manner to answer this question.

This article is a comparative study between two dramatic works, the TA'ZIYEH of Imam Hussein (AS) and the film The Passion of The Christ (by Mel Gibson). Although the two works are different in regard to their dramatic styles and even their artistic and religious precedence, some similarities can plainly be observed between them that are not present in other dramatic works on the life of Jesus Christ. The article first refers to more general similarities including an account of the two characters' pain and sufferings, the motive behind the resistance and martyrdom of Imam Hussein (AS) and Jesus, the significance of blood in both narrations, how friends betray the heroes and how the main characters are left alone. Then, more specific similarities are studied, for example a comparison is made between the characters Mary, Hazrat Zahra (AS), Hazrat Zeynab (AS), Pontius Pilate, the Roman general, and Hor. Other events include how the two characters' clothes are ripped and how the heavens and earth turn black. In fact, by raising comparisons between these works, the article aims to make readers aware of the common principle present among different religions and various narrations that have a religious root.