ورود اپرا به ایران در کالبد شبیه خوانی (بررسی نمونه معاصر آن در جنوب خراسان)
آرشیو
چکیده
بیان مسئله: شبیه خوانی تئاتری است که دیالو گ های آن به صورت آواز بیان می شوند. این نمایش در واقع شبیه ساز رویداد هایی تاریخی چون عاشورا است. رویارویی خیر و شر، وقایع جنگ و دلاوری های انسان های بزرگ (چه به لحاظ رزمی و چه تراژیک) همیشه از موضوعات اصلی شبیه خوانی بوده است. نمونه مشابه شبیه خوانی در اروپا با نام اپرا اجرا می شود. این دو نمایش با وجود تفاوت های اندک در محتوا و شیوه اجرایی، دارای شباهت های بسیارند، به طوری که می توان ادعا کرد شبیه خوانی نمونه ایرانی نمایش اپرا است. هدف پژوهش: در این پژوهش سعی شده تاریخچه کوتاهی از اشکال تعزیه و رویه تبدیل این مراسم به شبیه خوانی مورد مطالعه قرار گیرد و تاثیر ساخت «تکیه دولت» در رونق شبیه خوانی و خصوصیات اجرایی این نمایش بررسی شود. همچنین این ادعا که آیا می توان شبیه خوانی را نمود ایرانی نمایش اپرا به شمار آورد، مورد بررسی قرار گرفته است. سوال پژوهش: آیا اپرا در تکامل ساختاری شبیه خوانی تاثیرگذار بوده است؟ این نمایش چگونه در قالب یک نمایش ایرانی بروز پیدا کرده است؟روش تحقیق: در این تحقیق از منابع کتابخانه ای، میدانی و مصاحبه استفاده شده است.نتیجه گیری: مطالعه ویژگی های اجرایی ونمایشی شبیه خوانی و اپرا مشخص می کند شیوه اجرایی، دارا بودن محتوای دراماتیک و تراژیک و تاثیرگذاری عمیق بر تماشاگر(مخاطب از جمله ویژگی های کلیدی شبیه خوانی و اپرا به شمار می رود. آنچه شبیه خوانی را از این نمایش اروپایی متمایز کرده، جایگزینی برخی ویژگی های اجرایی و محتوایی با المان های ایرانی است. کیفیت اجرایی و محبوبیت شبیه خوانی در زمان قاجار (با ساخت تکیه دولت) این نمایش را به نوعی فستیوال سالانه بدل کرد. دسته های شبیه خوانی اهمیت این نمایس های سالانه را درک کرده و برای اجرای بهتر و تاثیرگذاری بیشتر به رقابت می پرداختند. پس از دوران قاجار، کیفیت اجرایی این نمایش تحت تاثیر عوامل بسیار رو به افول رفت و محبوبیت خود را از دست داد.Opera in Iran as “Shabihkhani” (Studying its contemporary example in South Khorasan)
Ta'ziyeh is one of religious ceremonies in Iran. As an Iranian tradition, is a ritual that reenacts the death of Hussein (the Islamic prophet Muhammad's grandson) and his male children and companions in a brutal massacre In Ashura. This Play is a kind of comprehensive indigenous form considered as being the national form of Iranian theatre which have pervasive influence in the Iranian works of drama and play. It originates from some famous mythologies and rites such as Mithraism, Sug-e-Siavush (Mourning for Siavush). “Some believe that Iman Hossein's tragedy as depicted in Taziah is the next recreation of the legend of Siavash”In Iranian tradition, ta'zieh and “shabihkhani”, inspired by historical and religious events, symbolize epic spirit and resistance. The common themes are heroic tales of love and sacrifice and of resistance against the evil. Shabihkhani as a good example, is a form of theatre in which actors make dialogues through songs. The confrontation between good and evil, war events and bravery of great people have always been one of the main subjects in Shabihkhani. Music plays a Fundamental role in Shabihkhani and improves its dramatic aspects. It incorporates a number of performing arts, such as acting, scenery, costumes and using different musical instruments.In Iranian Ta'zieh, the space is very important. Originally, Ta'zieh dramas, like other Western passion plays, were performed in a public arena, allowing large audiences to convene. They later moved to smaller spaces like courtyards and spaces within the homes of private citizens, but eventually ended up being performed in temporarily constructed performance spaces called tekyehs or husseiniyehs. Tekyehs were somewhat open-air, but almost always had awnings of sorts atop the building to shield the spectators and actors from sun and rain. All performers in a Ta'zieh ceremony never leave the stage. The stage is elevated between one and two feet from the ground and split into four areas: one for the protagonists, antagonists, smaller subplots, and propsAlthough it is a very traditional ceremony for Iranian people, but we can claim that it had reached its peak during the Qajar period thanks, in particular, to the great interest shown by the Qajar Kings, especially Nasser al-Din Shah (1848-1896). After returning from England, he ordered his engineers to build a place very similar to “Albert Hall” in which he could have similar plays like opera in his own town. So “Tekye Dowlat” was Built in Golestan Palace, and became an Iranian example of an opera house. Due to most people’s religious beliefs, it couldn’t happen but became a very suitable place or kind of Theatre to perform religious ceremonies like Shabihkhani.Performing this shabihkhani in Tekye Dowlat, with king’s support and thousands of audiences, made the show “an annual festival” which was held in Muharram, and all the groups and actors were trying to do their best during this playing festival. According to the large number of audiences, stage and costumes were designed with special purposes. The stage was circular so actors were free to contact and also If a person was traveling in a circle on or around the stage, that meant they were going a long distance (usually represented the distance between Mecca and Karbala). Traveling in a straight line represented a shorter distance traveled.The main goal of designing the costumes was not to be historically accurate, but to help the audience recognize which type of character they were looking at. Villains were the Sunni opponents of Imam Hussein. They were always dressed in red. The protagonists, family members of Hussein, were dressed in green if they were male characters. Anyone about to die was in white. Women were always portrayed by men in all black. One way to distinguish character besides the color of their costume was how they deliver their lines. The protagonists or family of Imam Hussein sang or chant their lines and the villains declaimed their lines.Alongside all these visual elements and playing styles, there is one more thing that makes shabihkhani similar to opera. And that is the Tragic aspects of the play. Although there are slight differences in the content and style, but they have many in common.In this paper, we tried to find the answer of two questions. Has opera been influential in the structural evolution of Shabihkhani, and how has this show emerged as an Iranian show? we studied a brief history of Tazieh and the procedure of turning this ceremony to Shabihkhani, and also the effect of the "Tekye Dowlat" in the prosperity of Shabihkahni and the performance characteristics of this show.The results showed that the performance style, dramatic and tragic content and having a deep impact on the audience are among the key features of shabihkhani and opera.What distinguishes Shabihkhani from this European show is the replacement of some performing and content features with Iranian ones. The performance quality and the popularity of Shabih khani during Qajar (and building Tekye Dowlat) deformed this show into a kind of annual festival. The palying groups understood the importance of these annual shows and competed for a better and more effective performance. After Qajar, due to many different factors, the performance quality of this show has declined and lost its popularity and audience.
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