Abstract
The Shabih Theater With Its Folklorized Religious-Mystic Character
Condolences, Shabih folk theater, and remembrances, which have been going on for thousands of years, are to keep Karbala alive. The transfer of our ritual-mythological world, which existed long before the Shabih Karbala, to the religious-mystical lay, is to keep the ritual alive in a new form and with new content. The decoration of the stage and the mutual efforts of the actors and the audience to create a text are the characteristics of Şebih's theatrical performance. Regardless of its religious character in terms of both form and meaning, the Şebih play includes all the elements of folk theater. In this respect, Şebih is the pioneer of modern theater. The most obvious of the Shabihs, who have a unique dramaturgy and understanding of theater, is the subject area of the Karbala event. The general subject of the Shabihs is the armed and spiritual jihad of Imam Husayn, the third son of Hazrat Ali, against Yazid, son of Muawiya, who corrupted the morality and spirituality of religion and seized the caliphate by force. Shabih plays, which are the most widely spread genre of Karbala folklore, are rich as well as plain, have a perfect plot and theatrical character as well as simple.
In this article, which is connected with the Shabih theater, the role, symbolism, and function of the ritual aspects of the Shabih in the structure of the play have been the subject of research
Keywords
Shabih theatre, Religious-ritual symbols, Religious-mystical play, Contemporary theater