{"id":14278,"date":"2017-07-07T08:14:19","date_gmt":"2017-07-07T08:14:19","guid":{"rendered":"https:\/\/surfiran.com\/mag\/"},"modified":"2026-01-24T14:31:18","modified_gmt":"2026-01-24T14:31:18","slug":"naqqali-in-iran","status":"publish","type":"post","link":"https:\/\/surfiran.com\/mag\/naqqali-in-iran\/","title":{"rendered":"Naqqali, Iranian Dramatic Story-telling"},"content":{"rendered":"\n

Naqq\u0101li <\/strong>is an Iranian traditional theatre form, having originated in ancient Iran. This dramatic performance concerns telling of a story, history or non-history based, in a variety of genres. \u00a0It is done either in verse or prose and accompanied by gestures and movements appropriate to the event related.<\/p>\n\n\n\n

Iran enjoys a long tradition of Naqq\u0101li. This tradition was called \u201cGows\u0101n\u201d during Parthians (3rd  BC-3rd AD). \u201cGows\u0101n\u201ds (the reciters) acted as entertainers to both kings and ordinary people.  Under the Sassanids (3rd-7th AD), Naqq\u0101li was highly regarded at court, where it used to be called \u201cXony\u0101gari\u201d. Following the collapse of the Sassanid, these reciters emmigrated to remote areas to keep the tradition alive. In ancient times, they used to recite narrative poems, play musical instruments, sing, and act.<\/p>\n\n\n

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\"Naqq\u0101li,
Naqq\u0101li, Iranian dramatic story-telling<\/figcaption><\/figure>\n<\/div>\n\n\n

The oldest form of dramatic performance in Iran<\/h3>\n\n\n\n

Naqq\u0101li is the oldest form of dramatic performance in Iran. Historically, it has adopted itself with socio-political circumstances. Before the Sassanid(651 AD), Naqq\u0101ls were poets and musicians simultaneously. They recited stories along with playing instruments. B\u0101rbad was the most renown Naqq\u0101l of the Sassanid. During Ghaznavids(10th-12th AD), the Court banned musical Naqq\u0101li. But the tradition survived in remote areas.<\/p>\n\n\n\n

Two important events occurred during the Safavid<\/a> period (16th-18th AD): establishment of coffee-houses and applying \u201cParde\u201d. Parde introduced a new style in Naqq\u0101li, and coffee-houses became exclusive venues for Naqq\u0101ls for, at least, 300 years. Up to several decades ago, great coffee-houses hired Naqq\u0101ls. Unfortunately, the strong influence of western culture and break down of the old traditions caused a decline in popularity of coffee-houses; consequently, Naqq\u0101l’s lost their traditional audiences<\/p>\n\n\n\n

During the Islamic period, such reciters were  known under various names; such names had their origin in the types of the repertory of the tales they recited. One example is, so called, \u201cSh\u0101hn\u0101me-X\u0101n\u201ds, who were specialized in reciting tales from Sh\u0101hn\u0101me, the great Persian epic by Ferdowsi<\/a>. This nameing style can still be traced.<\/p>\n\n\n\n

In addition to Persian literature, Naqq\u0101ls needed to be acquainted with expressions referring to the local culture, or the Iranian traditional\/folk music. Thus, they functioned as both entertainers,  and bearers of Persian literature and culture, while encouraging national cohesion.<\/p>\n\n\n\n

Current situations of Naqq\u0101li<\/h3>\n\n\n\n

Nowadays, the language of recited narrations is not limited to Persian; these tales are allowed to be narrated in regional dialects or languages. Up to several years ago they were the most important guardians of folk-tales, ethnic- epics and Iranian folk music.<\/p>\n\n\n\n

Naqq\u0101li requires considerable talent; no one can arrive at eminence in this line except men of cultivated taste and retentive memory. They must not only be acquainted with the best ancient and modern stories, but be able to change them in relation to new incidents, either heard or invented. They must also recollect the finest texts of poetry, which they may quote from.<\/p>\n\n\n

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\"Naqq\u0101li,
Iranian actor doing Naqq\u0101li<\/figcaption><\/figure>\n<\/div>\n\n\n

The audience are normally acquainted with the tale, so the Naqq\u0101l requires the charm in his performance, an attractive voice quality, as well as skill in acting to captivate them. The Naqq\u0101l is alone in performing a rich range of roles, such as those of kings, queens, warriors, princesses, beggars, etc, convincingly. He is even a master in producing sound effects, including horse galloping, fencing ,etc. Master Naqq\u0101ls, even, are well equipped with a knowledge of Iranian sports, while they recite skills in wrestling and fencing, among others.<\/p>\n\n\n\n

Naqq\u0101ls and Morsheds<\/h3>\n\n\n\n

There are two groups of practitioners, the Professional and the Seasonal. They may perform in coffee-houses, tents of nomads, houses, and historical places like ancient caravanserais.<\/p>\n\n\n\n

The Professionals, who are few in number now, earn their living from Naqq\u0101li; seasonals have other occupations, too. Nowadays, professional Naqq\u0101ls are mostly invited for official ceremonies sponsored by municipalities or governmental institutes. Seasonal Naqq\u0101ls mostly perform in regional ceremonies like wedding parties, or even mourning ceremonies. However, both groups have been invited for Iranian Ritual-Traditional Theatre Festivals since the very beginning of its establishment.<\/p>\n\n\n

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\"Naqq\u0101li,<\/figure>\n<\/div>\n\n\n

Naqq\u0101ls know their tales by heart, but master Naqq\u0101ls, called \u201cMorshed\u201ds, have the written form of their repertory of the tale which is called \u201cTum\u0101r\u201d. Every Morshed has his personal Tum\u0101r which is unique in terms of the sequence of tales and incidents. These Tum\u0101rs are actually dramatic versions of Persian tales, harmonized with  the  performance conventions of Iranian traditional theatre. Recently several of these Tum\u0101rs, including \u201cRostam and Sohr\u0101b\u201d of Sh\u0101hn\u0101me, the most popular and demanding tale for Naqq\u0101li, have been published.<\/p>\n\n\n\n

Even now, to be recognized as a Naqq\u0101l, beginners need to be trained as pupils by Morsheds. The pupil accompanies his\/her Morshed in performances. After several sessions, in the middle of one performance, Morshed presents his metr\u0101q (his multifunctional cane), to his pupil, who is sitting among the audience.<\/p>\n\n\n

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\"Naqq\u0101li,<\/figure>\n<\/div>\n\n\n

The pupil should go toward the stage, to continue the performance. The pupils depend totally on their Morsheds, till he announces the termination of the apprenticeship. The pupils remain respectful of their masters for the rest of their lives; in their presence, they, always, ask permission from them to begin the performance.<\/p>\n\n\n\n

Naqq\u0101ls, especially Morsheds, wear costumes reminiscent of Dervishes cloths. They may, even, use ancient helmets, or armoured jackets in the middle of the performance, to create a sense of reality for the battle scenes. Their multifunctional canes may represent a wide range of motifs, including a beautiful beloved, a horse, a sword, etc.<\/p>\n\n\n\n

\u201cParde\u201d, used by some Naqq\u0101ls, is a painted curtain in the Coffee-House-Style. Having  preserved all the logical, religious and traditional styles, it has flourished as a sign of respect for popular beliefs. The painters have been messengers of light and impossible dreams.<\/p>\n\n\n\n

A unique theatrical performance<\/h3>\n\n\n\n

Due to the fact that this unique theatrical performance always presents one of the deepest and genuine layers of the national Iranian culture, its protection will definitely serve to safeguard the national and historical roots of it. Besides, it can be a source of inspiration for  literary figures and artists all around the world. Every form of art is a unique language faciliating peaceful communication among different cultures. In this regard, Naqq\u0101li should be considered as an international  heirtage in urgent need for safeguarding.<\/p>\n\n\n

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\"Iranian
Gordafarid, The Iranian actress doing Naqq\u0101li<\/figcaption><\/figure>\n<\/div>\n\n\n

There are still variable forms of Naqq\u0101li all over Iran, though there has been a decrease in the number of Naqq\u0101ls. Nowadays, no Naqq\u0101l, seasonal or professional, can earn his living just by Naqq\u0101li. This has led to less interest in professional Naqq\u0101li.<\/p>\n\n\n\n