The term "Ta'zieh" is derived from the Arabic root "Aza" (meaning mourning and sympathy). While the ritual roots of Ashura mourning have a long history, Ta'zieh evolved into a complete and structured dramatic form in Iran during the 10th to 13th centuries AH (the Safavid to Qajar periods). It reached its peak of prosperity during the Qajar era, particularly under Naser al-Din Shah with the construction of the Tekyeh Dowlat. Ta'zieh has been described as "one of the most prominent examples of tragic drama in the Islamic world" and the "first example of an Iranian national theatre." In 2010, UNESCO inscribed Ta'zieh as a "Ritual Dramatic Art of Iran" on the Representative List of the Intangible Cultural Heritage of Humanity, introducing it as one of the most authentic and complex forms of ritual theatre in the world.
Unlike Western theatre, which emphasizes "realistic representation," Ta'zieh is based on "symbolism" and "ahistoricity." This means that the performers act simultaneously as their historical characters and as symbols of good, evil, justice, and oppression. Ta'zieh is typically performed during the months of Muharram and Safar, particularly on the days of Tasu'a and Ashura (the 9th and 10th of Muharram) and Arba'in, in open spaces (city squares, Tekyehs, or Husseiniyehs). The audience is an integral part of this ritual, participating through weeping, chest-beating, and lamentation, which defines Ta'zieh as "participatory theatre."
The structure and elements of Ta'zieh are unique and complex. Unlike conventional theatre, in traditional Ta'zieh, all roles—including female characters such as Hazrat Zeinab (PBUH), Hazrat Ruqayyah (PBUH), and Hazrat Sakinah (PBUH)—are performed by men; although in the last century, separate Ta'zieh performances by women, as well as modern academic performances featuring female actors, have also been held. Characters are divided into two categories: the Olia-khan (the "Saints" or proponents of truth—including Imam Hussein, his companions, the Ahl al-Bayt, and angels) and the Ashghia-khan (the "Villains" or proponents of falsehood—including Yazid, Shimr, Ibn Sa'd, and the Kufan army). Following a common color-coding pattern, the Olia-khan usually wear green (a symbol of paradise and the Ahl al-Bayt), while the Ashghia-khan wear red (a symbol of blood and oppression). However, in some performances, black (for mourning), white (for children and the innocent), and blue (for angels) are also utilized. Music and singing are inseparable parts of the performance, accompanied by a group of chanters and musicians playing instruments such as Naqqara, Dohol, Sorna, and Karna.
The influence and expansion of Ta'zieh extend beyond Iran's borders, although it is practiced in other ECO member countries in different, primarily simpler, forms. In Iraq (particularly Karbala, Najaf, and Kadhimiya), Ashura rituals (known as "Tashbih") have a long history independent of Iran; there has been a mutual historical interaction between Iranian and Iraqi mourning traditions, rather than mere one-sided imitation. In the Republic of Azerbaijan, given its significant Shi'a population, Ta'zieh (locally called "Shabih" or "Ta'ziya") became popular during the Qajar era and was widely performed until the 1930s (during the period of religious suppression by the Soviets). Following the collapse of the Soviet Union, Ta'zieh has seen a revival in Azerbaijan. In Afghanistan (especially among the Hazaras and the Shi'a populations of Kabul and Herat), Ta'zieh is held in a simpler form with an emphasis on lamentation and chest-beating, showing clear influence from Iranian traditions. In Pakistan (particularly in the Punjab region and cities such as Karachi, Lahore, and Rawalpindi), similar rituals (called "Majalis-e Aza" and "Shabih-gardani") are held. Nevertheless, "the complete and magnificent form of Ta'zieh (with numerous actors, complex costumes, live music, and long poetic recitations) has remained primarily in Iran," with other countries largely performing shorter and simpler versions. This difference is due to the extensive support of the Safavid and Qajar courts for Ta'zieh, as well as the robust cultural-religious infrastructure (Tekyehs, Husseiniyehs, and Ta'zieh markets) in Iran.
Ta'zieh is a symbol of "cultural diplomacy based on shared rituals" within the ECO region. It can serve as a bridge to introduce the "cultural diversity within the region"—a diversity in which Shi'as and Sunnis, Turks and Persians, Pashtuns and Hazaras each hold their own particular rituals, yet all gather together within the framework of the ECO as a "cultural family."