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Ta'ziyeh (review)

Ta'ziyeh (review) TA' ZIYEH. Produced by Lincoln Center Festival 2002, July 12 through July 21, 2002. Damrosch Park, Lincoln Center, New York City. Bravo to Lincoln Center, all the foundations, scholars, and performers who made this U.S. premiere of the Iranian Passion Play a reality. Three plays from the cycle were presented under a large tent in Damrosch Park from July 12 through July 21. Raised as a Sunni in Afghanistan, I was totally ignorant of this unique dramatic tradition within Islam until I began searching for a dissertation topic in 1976. Although I have been studying the tradition ever since, my focus has been on the texts. This was my first opportunity to witness the "recipes for performance" (the texts) transformed into living performance. I knew that the heroes would sing and the villains would shout their lines. I knew that the separation between the two sides would be carried out visually with the heroes wearing green or white and the villains scarlet. I knew that the stage would consist of a circular platform surrounded by a groundlevel ring with minimal props. I expected the all-male performers to carry their scripts as a way of reminding the audience of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2003 The University of Hawai'i Press.
ISSN
1527-2109
Publisher site
See Article on Publisher Site

Abstract

TA' ZIYEH. Produced by Lincoln Center Festival 2002, July 12 through July 21, 2002. Damrosch Park, Lincoln Center, New York City. Bravo to Lincoln Center, all the foundations, scholars, and performers who made this U.S. premiere of the Iranian Passion Play a reality. Three plays from the cycle were presented under a large tent in Damrosch Park from July 12 through July 21. Raised as a Sunni in Afghanistan, I was totally ignorant of this unique dramatic tradition within Islam until I began searching for a dissertation topic in 1976. Although I have been studying the tradition ever since, my focus has been on the texts. This was my first opportunity to witness the "recipes for performance" (the texts) transformed into living performance. I knew that the heroes would sing and the villains would shout their lines. I knew that the separation between the two sides would be carried out visually with the heroes wearing green or white and the villains scarlet. I knew that the stage would consist of a circular platform surrounded by a groundlevel ring with minimal props. I expected the all-male performers to carry their scripts as a way of reminding the audience of

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Jul 24, 2003

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