Relevant bibliographies by topics / Ta'ziyah

Academic literature on the topic 'Ta'ziyah'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Ta'ziyah"

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Winarno, Winarno. "PENERAPAN KONSEP AL-‘URF DALAM PELAKSANAAN TA’ZIYAH." ASY SYAR'IYYAH: JURNAL ILMU SYARI'AH DAN PERBANKAN ISLAM 5, no. 2 (December 17, 2020): 180–201. http://dx.doi.org/10.32923/asy.v5i2.1517.

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One of the legal istinbath methods which must be considered to provide answers to new cases that have emerged in Islamic law is al-'urf. Al-'Urf are customs, habits or traditions that occur repeatedly or continuously in an area or place and are practiced by the wider community so that they become a part of religious life. Principally, al-'urf is divided into two parts, namely al-'urf shahih and al-'urf al-fasid. Al-ʻUrf Al-Sahih is the custom which is practiced by the community at large, is justified by common sense considerations and has a noble or advantageous impact on life and does not intrude the provisions of the Qur'an and Hadith of Rasulallah saw. Meanwhile, Al-ʻUrf Al-Fasid is the opposite of al-'urf al-shahih is the custom of the community that cannot be justified by common sense and contradicts the values of the Qur'an and hadith. This paper raises an example of the application of al-'urf in the performance of ta'ziyah. The application of al-'urf in the performance of ta'ziyah is a custom, habit or tradition that is repeatedly carried out by the community. However, none of these practices contradict the values of the Qur'an and Hadith. Therefore, performance of ta'ziyah is justified by the law (sharia). Because everything that contains goodness values is highly recommended to do it. In fact, a good custom, tradition or habit can be considered for the construction of a law.
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Pettys, Rebecca Ansary. "Ta'ziyeh (review)." Asian Theatre Journal 20, no. 2 (2003): 256–59. http://dx.doi.org/10.1353/atj.2003.0026.

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Beeman, William O. "The Ta'ziyeh of Hor, and: The Ta'ziyeh of the Children of Moslem, and: The Ta'ziyeh of Imam Hussein (review)." Theatre Journal 55, no. 2 (2003): 359–62. http://dx.doi.org/10.1353/tj.2003.0053.

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Riggio, Milla C. "Ta'ziyeh in Exile: Transformations in a Persian Tradition." Comparative Drama 28, no. 1 (1994): 115–40. http://dx.doi.org/10.1353/cdr.1994.0005.

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Ismail, Sirajuddin. "TA'ZIAH DI NASARA (Studi Tentang Penggunaan Lektur Keagamaan)." Al-Qalam 6, no. 1 (November 11, 2018): 51. http://dx.doi.org/10.31969/alq.v6i1.631.

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<p>Manusia dalam hidup dan kehidupannya;<br />di dunia mempunyai beraneka ragam<br />kebutuhan yang haras dipenuhi, baik secara<br />individu maupun secara bersama-sama<br />sebagai suatu satuan kegiatan, menyebabkan<br />terwujudnya beraneka ragam model pengetahuan<br />yang menjadi pedoman hidup. Pedoman<br />hidup itu masing-masing berguna<br />atau relefan untuk usaha memenuhi kebutuhan<br />manusia. Kebudayaan dilihat sebagai<br />terdiri dari unsur-unsur yang masingmasing<br />berdiri sendiri tetapi satu sama lain<br />saling berkaitan. Unsur-unsur tersebut<br />adalah; Bahasa dan komunikasi, ilmu pengetahuan,<br />tehnologi, ekonomi, organisasi<br />sosial, aga-ma, kesenian. (Suparlan, 1986 :<br />10) Pakar lain menyebutketujuh unsur tersebut<br />"Unsur kebudayaan yang universal",<br />dan merupakan unsur yang pasti bisa<br />ditemukan disemua kebudayaan di dunia,<br />baik yang hidup dalam masyarakat pedesaan<br />yang kecil terpencil maupun dalam<br />masyarakat kekotaan yang besar dan komplex.<br />(Koentjaraningrat, 1974 : 2)</p>
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SHIMAMOTO, Takamitsu. "Some Reflections on Ta'zieh." Bulletin of the Society for Near Eastern Studies in Japan 33, no. 1 (1990): 45–63. http://dx.doi.org/10.5356/jorient.33.45.

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7

Flaskerud, Ingvild. "Eternal Performance: Ta'ziyeh and Other Shiite Rituals (review)." Journal of Shi'a Islamic Studies 5, no. 3 (2012): 349–54. http://dx.doi.org/10.1353/isl.2012.0043.

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8

Echghi, Leili. "«La pratique du ta'ziyé dans l'Iran post révolutionnaire»." CEMOTI 20, no. 1 (1995): 307–15. http://dx.doi.org/10.3406/cemot.1995.1291.

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ECHGHI, Leïli. "La pratique du ta'ziyé dans l'Iran post-révolutionaire." CEMOTI, no. 20 (June 1, 1995): 307–15. http://dx.doi.org/10.4000/cemoti.191.

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10

Al-Khafaji, Ammar Shamil. "A Study of Suffering and Martyrdom in Islamic Ta'ziya and Christian Passion Plays." Lublin Studies in Modern Languages and Literature 41, no. 1 (July 4, 2017): 7. http://dx.doi.org/10.17951/lsmll.2017.41.1.7.

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Dissertations / Theses on the topic "Ta'ziyah"

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Shahriari, Khosrow School of Media Film &amp Theatre UNSW. "Breaking down borders and bridging barriers: Iranian Taziyeh Theatre." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2006. http://handle.unsw.edu.au/1959.4/26310.

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In the twentieth century, Western theatre practitioners, aware of the gap between actor and spectator and the barrier between the stage and the auditorium, experimented with ways to bridge this gap and cross barriers, which in the western theatrical tradition have been ignored over the centuries. Stanislavski, Meyerhold, Piscator, Brecht, Grotowski, and more recently Peter Brook are only a few of the figures who tried to engage spectators and enable them to participate more fully in the play. Yet in Iran there has existed for over three centuries a form of theatre which, thanks to its unique method of approaching reality, creates precise moments in which the worlds of the actor and the spectator come together in perfect unity. It is called ???taziyeh???, and the aim of this thesis is to offer a comprehensive account of this complex and sophisticated theatre. The thesis examines taziyeh through the accounts of eyewitnesses, and explores taziyeh???s method of acting, its form, concepts, the aims of each performance, its sources and origins, and the evolution of this Iranian phenomenon from its emergence in the tenth century. Developed from the philosophical point of view of Iranian mysticism on the one hand, and annual mourning ceremonies with ancient roots on the other, taziyeh has been performed by hundreds of different professional groups for more than three hundred years. Each performance is a significant event in the experience of actors and spectators. The thesis argues that through a careful and comprehensive exploration of taziyeh from its emergence to our time, we can ultimately experience a new horizon in theatre in which we may discover theatrical potentiality and dynamism in a way that has not yet been achieved in conventional Western theatre.
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Emad, Mona. "Les oeuvres théâtrales de Bahram Beyzaie : la forme traditionnelle du théâtre et sa modernisation." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30073.

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Bahram Beyzaie, né en 1938 en Iran, est considéré comme un très grand cinéaste et auteur dramatique de sa génération. Si certains de ses films sont bien connus, son théâtre est moins célèbre à l’étranger parce qu’il a été peu traduit et peu joué. Pour lui le théâtre est le lieu par excellence où renouer avec les formes traditionnelles de spectacle non pas pour les reconstituer mais pour parler au public d’aujourd’hui et lutter contre l’amnésie. Il nourrit donc ses pièces de théâtre, ses films, ses contes et ses narrations de l’héritage culturel oublié de son pays. Cette thèse propose d’examiner l’influence, dans son oeuvre dramatique, des spectacles traditionnels d’Iran tels que le Ta’zieh, le Naghâli ou l’Art du conteur, les marionnettes, la farce du Siyâh Bâzi, ainsi que la trace des mythes et de l’histoire de l’Iran. Dans tout ce qu’il écrit, une importance extrême est accordée à la langue perse utilisée avec virtuosité. De nombreux extraits d’ouvrages de recherche et de pièces sont proposés ici en traduction française. Une importante iconographie accompagne cette étude et rend compte des spectacles que Bahram Beyzaie a mis en scène. Il continue son travail artistique en Californie car il est actuellement un auteur en exil
Born in 1938 in Iran, Bahram Beyzaie is considered as a great filmmaker and playwright of his generation. While some of his films are well known, his theater is less famous abroad because it has been little translated or performed. For him theater is the place where to keep in touch with tradition, not to just preserve it, but to reach today’s public and fight against amnesia. He thus feeds his plays, his films, his tales and his narrations of the forgotten dramatic legacy of his country. This thesis proposes to examine the influence, in his dramatic work, of traditional Iranian performances such as Ta'zieh, Naghali or the Art of Storytelling, Puppet Theater and Siyâh Bâzi or Farce, as well as the traces of the myths and history of Iran. In everything he writes, a prominent place is dedicated to the Persian language used with utmost virtuosity. Many excerpts of texts on the theater and plays are here translated for the first time into French. A very rich iconography, mainly of his own staging of his plays, illustrates the study. Beyzaie continues his artistic work in California where he is presently an author in exile
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Sabouri, Nikta. "Mettre en scène le théâtre religieux traditionnel dans une démarche interculturelle." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34243.

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Ce projet de recherche, qui comporte un volet créatif, a pour objectif l’exploration des possibilités de mise en scène du mystère français, forme théâtrale qui n’est presque plus jouée, à partir d’éléments empruntés au code de représentation du ta'zieh, une forme théâtrale iranienne encore très vivante. Ce projet de création s’inscrit dans une démarche interculturelle qui vise à mettre en contact deux formes théâtrales religieuses relevant de traditions anciennes. À partir d’un modèle théorique proposé par Patrice Pavis et en nous inspirant de la démarche créatrice de quelques artistes, nous avons monté, dans le cadre d’un laboratoire, un extrait de la pièce de théâtre médiévale Le Mystère de la Passion d'Arnoul Gréban, afin non pas de reconstituer à l’identique les représentations médiévales du mystère français, mais de créer, par l’amalgame de deux formes théâtrales religieuses issues des cultures chrétienne et iranienne, une forme nouvelle.
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Mamdoohi, Nikoo. "Adapting for a New Audience: Ta'zieh-Between Two Rivers." 2018. https://scholarworks.umass.edu/masters_theses_2/732.

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This thesis is the written portion of my experience as a director, staging an adaptation of the traditional Iranian theater form, Ta’zieh, for my thesis project. I start with a brief description of our adapted performance, followed by the inspirations that led to the creation of the piece. I then trace the evolution of the idea from the initial stage to the final performance. I describe the adaptation process in three sections, the story, form, and practice. In each section, in a comparative manner, I write about the ways in which Ta’zieh is traditionally done and elaborate on our decisions while adapting it for a new audience. I explain the challenges of adapting and directing the play outside of its original context and discuss how I worked on making this performance an intercultural experience. I conclude to write how I think these artistic cultural exchanges can connect us between countries and cultures, shed a light on our shared struggles and hopes, and lead us to connect on deeper levels of understanding.
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Books on the topic "Ta'ziyah"

1

Tehrani, Faisal. Sebuah Ta'ziyah Karbala: Drama pentas. Putra Jaya, WP [i.e. Wilayah Persekutuan]: Abeerdeen Books World, 2008.

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2

Gregorini, Angela. La dolorosa festa: Per un'interpretazione antropologica della ta'ziye persiana. Firenze: CUSL, 2005.

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3

Ṭaʻm-i zindagī. Tihrān: Sūrah-i Mihr, 2002.

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4

Tārīk̲h̲a sān taʻziyata: ʻAbdulvāḥidu Ārīsar bābata maẓmūna ain taʻziyatī tās̲urāt = Tareekh saa'n ta'ziat = Condolence with history. Kanḍyāro: Roshnī Pablīkeshani, 2015.

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5

Al-Imam, Fatima M. N. Basha'r al-futuhat wa al-sa'udfi ahkam al-ta'zirat wa al-hudud by Yahiya b. Abi Al-Barakat. [Riyadh?]: F.M.N. Al-Imam, 1996.

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6

Basha'r al-futuhat wa al-sa'ud fi ahkam al-ta'zirat wa al-hudud by Yahiya b. Abi Al-Barakat. [Riyadh?]: F.M.N. Al-Imam, 1996.

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