Maryam Nemat Tavousi
Abstract
Painted-screen storytelling has been derived from dramatic storytelling or Naqqaali which has used to be performed throughout Iran from ancient times. Its specific structure is applying a painted-screen to which the reciter refers from time to time during his performance. The main purpose of this research ...
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Painted-screen storytelling has been derived from dramatic storytelling or Naqqaali which has used to be performed throughout Iran from ancient times. Its specific structure is applying a painted-screen to which the reciter refers from time to time during his performance. The main purpose of this research is revealing the evolution path of religious painted-screen from the very beginning till the end result: a painted-screen with so many scenes. It seems storytelling scrolls (Tomar) and Shabih-khani (Ta’ziyeh) play a very important role in final form and the content of these painted-screens. Like scrolls, every painted screen is comprised from a main story and so many minor stories. But the minor stories in painted-screen do not have organic relationship. It is reciter who refers to the main story (painted at the middle of the painted-screen) On the other hand, the main story and lots of minor stories in every painted-screen have been borrowed from Shbih-khani. Besides, at the heart of the religious painted-screen there are big holy figures that can be seen vividly by audience all the time. This means whether the reciter tell the story of Karbal or not, the audience feel the presence of key religious figure during time.
