گفت و گوي اديان در شبيه خواني

Religious dialogue in Shabih-khani

چكيده شبيه‌خواني كه مهم‌ترين و منسجم‌ترين نمايش ايران و بخشي از جهان اسلام است در نخستين سال‌هاي پيدايش‌ بر مراسم و آيين‌هايي استوار شد كه اساسا مبتني بر اعتقادات شيعه‌ي ايراني بود. به همين دليل، مايه و پايه‌ي داستاني آن ‌ـ‌در آغاز‌ـ‌ برگرفته از وقايع مهمي مانند شهادت حضرت علي و امام‌حسين و عاشوراي سال 61 ق. در تاريخ شيعه بود. اقتدار حكومت، دگرگوني ساختار جامعه، ارتباط با ديگر كشورها و تمدن‌ها، تغيير شيوه‌ي زندگي و گسترش و رشد شبيه‌خواني، ضرورت شكل‌گيري نمايش‌هايي با روايت‌هاي نوين را پديد آورد. پس شبيه‌خواني به دوره‌ي دوم و سوم زندگي‌اش ـ‌روايت‌هاي ديني فراتر از اسلام‌ـ وارد شد. در اين دوره‌هاست كه گستره‌ي نمايش‌ها به داستان‌ها و شخصيت‌هاي اديان ديگر و زندگي معاصر نيز مي‌پردازد. شبيه‌نويسان و شبيه‌گردانان گرچه مسلمان بودند، نيم‌نگاهي به ديگر اديان نيز داشتند و تلاش مي‌كردند توجه تماشاگران غيرمسلمان را همانند هم‌كيشان خويش جلب كنند. پس عجيب نبود شبيه‌سرايي كه به تماشاگران و واكنش آن‌ها مي‌انديشيد، حكايت‌هاي خود را به گستره‌ي شخصيت‌هاي اديان ديگر بكشاند؛ او در پي ارتباط بود. شخصيت‌هاي مسيحي، يهودي، هندو و نيز دين‌هاي زردشتي و مانوي در شبيه‌خواني، حضور پررنگ‌تري نسبت به ديگر اديان دارند. پس شبيه‌خواني در دوره‌ي گسترش ‌ـ‌برخلاف نمايش مذهبي اروپا‌ـ‌ تنها به پيروان يك دين، محدود نبود بلكه همانند نهادي تياتري ـ‌و نه آييني يا صرفا ايديولوژيك‌ـ به ارتباطي گسترده مي‌انديشيد.

Abstract Shabih-khani (Ta’ziyeh) which is the most important and coherent performance from in Iran and world of Islam from beginning based upon rites and rituals which involved in Iranian Shiites religious creed. So its narrative basis derived from important event of Shiite history such as of martyrdom Imam Ali and Imam Husain. Governments’ authorities, evolution in structure of societies, relations with other countries a civilizations, changes in lifestyle of people and development of Shabih-khani led to establish new performances with new narratives. So Shabih-khani entered into its second and third stage of life (religious narratives apart from Islamic ones). In third stage and thereafter the domain of this performances extend to other religions characters and stories and contemporary life. Although the writers and performers of Shabih-khani all wereMuslims, but they sometimes interested in other religions and tried to draw other religions spectators attention as well as Muslim spectators to their performance. May be for this reason this performance from has been registered in European itineraries and political reports. Then it is not surprising that the writer of Shabih-khani in those days who thought about spectators and their reactions would extend the domain of his stories to other religions; he looked for communication. Perhaps the earliest followers of other religions in the characters Shabihkhani, Sub-sectors in the Goshes like a narrative rooted in the belief that the writer and director, slowly into the old familiar stories. Previously was Innovation made in character, speech and versions were considered in the context of previous versions; Writers and directors of religious belief of not crossing the limits. But getting into the personalities of other religions, attending Shabihkhani Opened the way for innovations in the frame narrative. Do not know exactly what the author of this feature when added to the texts, Or any director, on the run, the success of the organization accepting the eyes of other people in the community and had quite a following; But obviously that was not the object of this new approach and even led others to follow, the result of the sub-accounts in Shabihkhani. Seems to be quite the martyrdom of Imam Hussein in Christian characters, Author’s work is perhaps the earliest followers of other religions to enter the text quite; in the ancient texts, we found the remains of a sign. Perhaps the Jewish characters was the second group of followers of other religions, were added to the text of Ta’zieh.AlsoAmong the texts Ta’zieh, there are few texts of Hindu characters.We can also see signs of other religions or religion in Shabihkhani texts. Christian, Jewish, Zoroastrian, Hindu and Manichaeism characters are more prominent among other religions followers. So Shabihkhani is not like European religious dramas which dedicated just to one religion followers, But rather as a ritual, or merely the theater of widespread communication ideological thought.