The Literature of Playwriting by Mirza Aqa Tabrizi in Critique of Qajar Despotism

Abstract

Mirza Aqa Tabrizi occupies a prominent position in the tradition of playwriting and the formation of Iranian theater. Under the direct influence of the works and ideas of Mirza Fath-Ali Akhundzadeh, he took the earliest steps toward the continuation of modern playwriting and, around 1868, composed three plays: The Story of Ashraf Khan, The Rule of Zaman Khan in Borujerd, and The Tale of Shah-Qoli Mirza in Kermanshah. Drawing upon the social and political narratives of his era, his works are regarded as the first coherent attempts to establish modern drama in Iran. Artistic performances possessed a critical spirit, and such a spirit was intolerable to authoritarian rulers; consequently, theatrical performances were often reduced to aspects of buffoonery and clowning. Theater itself was considered a reprehensible activity. The playwright intellectuals of the Constitutional era were among the most significant agents in transmitting modernity to society. Through the use of satire, allegory, and staged narratives, they transformed complex political and social concepts into a simple and comprehensible language accessible to various social classes. Plays provided a medium for the transmission of ideas such as legalism, freedom, rationality, and the critique of despotism. As a result, intellectual concepts extended beyond the confines of newspapers and educated circles. Through socio-political satire, playwrights exposed the inefficiency of absolute monarchy, bureaucratic corruption, and obsolete structures. This artistic criticism encouraged audiences, without direct confrontation, to reconsider existing power structures. After Mirza Fath-Ali Akhundzadeh, Mirza Aqa Tabrizi is considered the second modernist playwright of Iran and played a distinguished role in the expansion of modern dramatic literature. He is generally associated with the development of Iranian theatrical performances, particularly traditions of entertainment and stage performance. The central focus of his work lay primarily in dramatic textual composition: constructing dialogue, advancing action through conversation, and shaping theatrical situations.