FOLKLORLAŞAN RİTUAL-MİSTİK XARAKTERLİ ŞƏBİH TEATRI
THE SHABIH THEATER WITH ITS FOLKLORIZED RELIGIOUS-MYSTIC CHARACTER

Summary/Abstract: The game, in the broadest sense of the word, is inherent from birth in all living beings – namely in all people. Despite all its possible functions and meanings, it actually contributes to identifying one’s ability to imitate something. To act out mystery means to become quiet , and learn how to make a compromise with one’s religious feelings and love. Through mystery, Muslims work hard to master their own inner creature – i.e their passion. Philosophical thinking dictates that mystery entails being willing to die for God and one’s faith. People have been recalling and reliving Kerbela for thousands of years to keep alive. The mystery behind it lies in immortalizing of the ritual in a new context and form, and to lend the ritual-mythological world a religious dimension. Mystic theatre has a religious character due to its form or meaning, and includes all elements of the folk theatre. In reality, Mystic square performances are related to religious-mythological ritual. It has its its own dramatic composition and theatre poetics, and is dedicated to the Kerbela misfortune. The main line of conflict is Imam Huseyn’s third son Ali, who had waged a spiritual sacred war against Muaviye’s son Yezid – a disturber of the religion morals and spirit who lay in violent hands the on caliphate. The last part of the Kerbela epos is the mystic performance itself. Parts of it are easier, others more difficult; moreover, it’s plot and theatrical properties ae virtually flawless.. This article shall talk about the structure, context, meaning, function and other problems connected with the mystic theatre.

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