In the illustration above, there are many circular motifs simultaneously at play, each interacting with one another to reflect the complex, interweaving interactions between time, space, the audience, and the actors, which altogether generate the dramatic art form that is Ta’ziyeh. But although this approach and medium allow us to combine these aspects into one unified visual presentation, it must sacrifice a rendering of the equally important dynamic elements of the performance, no doubt more easily and perhaps better captured through non-static media.

Starting from the outer edge, we have the axis of time, here represented as a circular interval encompassing the audience. Embedded within it are the three different temporal modes of representation found within Ta’ziyeh: literal time, representational time, and non-time. Literal time is represented by the dialogue clouds, whilst representational time is depicted by the compression of an entire battle scene into a short interval. But it is non-time that is the most crucial, as it is defined by the loop connecting the past (indicated by the date of Husayn’s martyrdom) and the present (indicated by the Apple logo), at the origin of the circle of time, enveloping part of the audience, taking them outside of the past and present entirely and into a limbo where only their grief and sorrow for their sins and the suffering of Husayn exists, allowing themselves the chance at a pure redemption.

The audience’s circle extends beyond this time loop to encompass the actors, where they are torn between two periods of time, representing both the historical forces of Yazid surrounding Husayn and his present-day mourners. This absence of a traditional Western fourth wall is what allows the audience to fill the emotional vacuum left by the actors, giving the audience a chance to actively renew their faith in Husayn and the Shi’a ideology descended from him.

At the innermost level are the actors, who in their use of space encounter three different modes of spatial representation: literal space, representational space, and non-space. Literal space is represented by the normal situation of Qasem’s wedding, whereas representational space is exemplified by the actor riding his horse in a circular arc around the stage to depict himself traveling a long distance. But again it is non-space that is most crucial, as figures far removed spatially from one another, such as Husayn, Hurr, Za’far, etc…, are able to verbally confront each other directly, allowing even Husayn’s enemies to redeem themselves and weep for Husayn, morally forcing the audience to do the same.

This is what I find miraculous about Ta’ziyeh, in that it can both envelop yet remove the audience from time and space, all the while emotionally overwhelming them to the point where they can do nothing but grieve and hope for redemption and Husayn’s intercession. It is simultaneously brutal yet beautiful, despondent yet hopeful, and a stunning illustration of the power of religion and art.