IRAN VLOG 4K -Street Show, Sabzeh Meydan, Qazvin - معرکه سبزه میدان، قزوین ۱۴۰۱
2.3 هزار بار بازدید -
2 سال پیش
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The general name of a
The general name of a large number of street shows, such as recitations, martial arts shows, trickery and juggling, and dance and singing. Except for Ta'zieh reading, in which the number of characters in the show is more than two depending on the type of Ta'zieh, in other martial shows, only two characters of Murshid and Bacha Murshid are used. The task of Bacha Murshid is to warm up the assembly and attract the attention of passers-by, to talk passionately about each of the tools with which the Murshid will perform an operation, to help the Murshid during each of the shows and to collect donations from the audience. At the end of each move, the mentor asks for a contribution from the young men in the crowd to start his next move. Most of the heavy and extraordinary shows that the congregation has gathered to see are not performed, no matter what the trick, but Karbald's mentor avoids doing the work so naturally that when he shows his special possessions (prayer sheets that he bought from Karbala, The two-headed viper oil that he killed in this place last week and besides them) offers, customers buy that item with their heart and soul, with peace and blessings. Bozraksani, snake hunting, dream interpretation,
At the end of the Timurian period (782-957 AH), story-telling, hymns, playing and other games or performances with their different degrees of development and quality, from narration to drama, spread. These games, narratives and wordplays were all known under the title of Marakeh, which was the first stage of the emergence of Naqsh in the following years.
Vaez Kashfi is perhaps the first person who carefully recorded these dramas in the Safavid period. He has dedicated the sixth chapter of Sultani's fatutnama to the battle and its types. According to him, fighters are divided into three main groups: those who talk, those who force, and those who play. There are three groups of speakers; Praisers and chanters, storytellers and narrators, storytellers and storytellers (narrators). Ahl Zor are made up of wrestlers, stone pickers, boat pullers, porters, basket pullers, mughir girs, rope pullers, zorgars, etc., and Ahl Baz, who are the most interesting fighters, are also groups of tasbaz (those who throw something in the air and catch it with a wooden head and maintain its balance), include gamblers and tricksters. By describing the features, methods and tools of each category, he has recorded complete explanations on how these battles are fought. Kashfi's definition of a battle is so broad that its scope also includes marquee play and all kinds of puppet shows.
The fight usually starts with the assistant inviting people to watch. After the customary warm-ups and gathering of the audience, he leaves the field to the master. The master (wrestler) performs his skill after praising God and calling the Prophet and Hazrat Ali, and he finishes his work by asking for help from the audience (blessings and curses, etc.) He pays and the battle ends. The warrior was also called "Murshid" and his assistant was called "Murshid's child" or student. Snake hunting, chain breaking, monkey play, bear dancing and curtain reading are some of the last battles that have come down to us. Sometimes, these methods have taken on another form and found a new form; Like a wrestler who sleeps until a tractor runs over him.
Curtain-turning, dancing monkey, tightrope walk and marquee play are types of fighting in Iran.
م عمومی شماری فراوان از نمایشهای خیابانی، همچون تعزیه‌خوانی، نمایشهای پهلوانی، تردستی و شعبده‌بازی، و رقص و آواز. جز تعزیه‌خوانی که در آن شمارِ شخصیت‌های نمایش بسته به نوعِ تعزیه از دو نفر بیشتر است، در دیگر نمایشهای معرکه‌ای فقط دو شخصیتِ مرشد و بچه‌مرشد به‌کارند. وظیفۀ بچه‌مرشد، گرم کردنِ مجلس و جلب توجه رهگذران، سخن‌راندنِ پُرآب‌وتاب از هریک از اسبابی که مرشد با آن‌ها عملیاتی انجام خواهد داد، یاریِ مرشد به هنگامِ هریک از نمایش‌ها و گردآوریِ اعاناتِ تماشاچیان است. مرشد نیز در پایانِ هر حرکت از جوانمردانِ جمع، اعانه‌ای طلب می‌کند تا حرکتِ بعدی خود را آغاز کند. اغلب نمایشهای سنگین و خارق‌العاده‌ای که جماعت برای دیدنِ آن‌ها بر معرکه گرد آمده‌اند، به هر نیرنگی که باشد، انجام نمی‌شود، اما مرشدِ کاربلد، چنان طبیعی از انجامِ کار طفره می‌رود که وقتی متاعِ خاصِ خود را (برگه‌های ادعیه‌ای که خود از کربلا خریده، روغنِ افعیِ دوسَری که هفتۀ پیش در همین مکان کشته و جز آن‌ها) عرضه می‌کند، مشتریان برای رفعِ بلا و قضا، با جان و دل، آن متاع را نیز به سلام و صلوات می‌خرند. بُزرقصانی، مارگیری، تعبیرِ خواب
در اواخر دورۀ تیموریان (782ـ957ه ) قصه‌خوانی، مداحی، لعبت‌بازی و بازی‌ها یا هنرنمایی‌های دیگر با درجه رشد و کیفیت متفاوتشان از روایت تا نمایش گسترش یافت. این بازی‌ها، روایت‌ها و نمایش‌واژه‌ها همگی زیر عنوان معرکه شناخته شدند که نخستین مرحله از مراحل پیدایش نقش در سال‌های بعد بود.
At the end of the Timurian period (782-957 AH), story-telling, hymns, playing and other games or performances with their different degrees of development and quality, from narration to drama, spread. These games, narratives and wordplays were all known under the title of Marakeh, which was the first stage of the emergence of Naqsh in the following years.
Vaez Kashfi is perhaps the first person who carefully recorded these dramas in the Safavid period. He has dedicated the sixth chapter of Sultani's fatutnama to the battle and its types. According to him, fighters are divided into three main groups: those who talk, those who force, and those who play. There are three groups of speakers; Praisers and chanters, storytellers and narrators, storytellers and storytellers (narrators). Ahl Zor are made up of wrestlers, stone pickers, boat pullers, porters, basket pullers, mughir girs, rope pullers, zorgars, etc., and Ahl Baz, who are the most interesting fighters, are also groups of tasbaz (those who throw something in the air and catch it with a wooden head and maintain its balance), include gamblers and tricksters. By describing the features, methods and tools of each category, he has recorded complete explanations on how these battles are fought. Kashfi's definition of a battle is so broad that its scope also includes marquee play and all kinds of puppet shows.
The fight usually starts with the assistant inviting people to watch. After the customary warm-ups and gathering of the audience, he leaves the field to the master. The master (wrestler) performs his skill after praising God and calling the Prophet and Hazrat Ali, and he finishes his work by asking for help from the audience (blessings and curses, etc.) He pays and the battle ends. The warrior was also called "Murshid" and his assistant was called "Murshid's child" or student. Snake hunting, chain breaking, monkey play, bear dancing and curtain reading are some of the last battles that have come down to us. Sometimes, these methods have taken on another form and found a new form; Like a wrestler who sleeps until a tractor runs over him.
Curtain-turning, dancing monkey, tightrope walk and marquee play are types of fighting in Iran.
م عمومی شماری فراوان از نمایشهای خیابانی، همچون تعزیه‌خوانی، نمایشهای پهلوانی، تردستی و شعبده‌بازی، و رقص و آواز. جز تعزیه‌خوانی که در آن شمارِ شخصیت‌های نمایش بسته به نوعِ تعزیه از دو نفر بیشتر است، در دیگر نمایشهای معرکه‌ای فقط دو شخصیتِ مرشد و بچه‌مرشد به‌کارند. وظیفۀ بچه‌مرشد، گرم کردنِ مجلس و جلب توجه رهگذران، سخن‌راندنِ پُرآب‌وتاب از هریک از اسبابی که مرشد با آن‌ها عملیاتی انجام خواهد داد، یاریِ مرشد به هنگامِ هریک از نمایش‌ها و گردآوریِ اعاناتِ تماشاچیان است. مرشد نیز در پایانِ هر حرکت از جوانمردانِ جمع، اعانه‌ای طلب می‌کند تا حرکتِ بعدی خود را آغاز کند. اغلب نمایشهای سنگین و خارق‌العاده‌ای که جماعت برای دیدنِ آن‌ها بر معرکه گرد آمده‌اند، به هر نیرنگی که باشد، انجام نمی‌شود، اما مرشدِ کاربلد، چنان طبیعی از انجامِ کار طفره می‌رود که وقتی متاعِ خاصِ خود را (برگه‌های ادعیه‌ای که خود از کربلا خریده، روغنِ افعیِ دوسَری که هفتۀ پیش در همین مکان کشته و جز آن‌ها) عرضه می‌کند، مشتریان برای رفعِ بلا و قضا، با جان و دل، آن متاع را نیز به سلام و صلوات می‌خرند. بُزرقصانی، مارگیری، تعبیرِ خواب
در اواخر دورۀ تیموریان (782ـ957ه ) قصه‌خوانی، مداحی، لعبت‌بازی و بازی‌ها یا هنرنمایی‌های دیگر با درجه رشد و کیفیت متفاوتشان از روایت تا نمایش گسترش یافت. این بازی‌ها، روایت‌ها و نمایش‌واژه‌ها همگی زیر عنوان معرکه شناخته شدند که نخستین مرحله از مراحل پیدایش نقش در سال‌های بعد بود.
2 سال پیش
در تاریخ 1401/09/11 منتشر شده
است.
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