The Role and Importance of Improvisation in Joyful Iranian Performances with Emphasis on Siah-bazi

Various forms of Iranian drama throughout history and over time in the form of various genres emerged from the heart of rituals mourning and joyous ceremonies. In the meantime, the role of improvisation as one of the most important methods of performing Iranian happy plays, and especially Siah-bazi plays is undeniable. On the other hand, extracting the principles and rules of improvisation in various forms of joyful Iranian plays based on new theatrical methods, achievements and methods is one of the necessities of our play today. The main purpose of this study is to study various methods, and techniques of improvisation in the production process of Iranian joyful plays, especially Siah-bazi plays. This research has been compiled in a descriptive-analytical method and library and internet resources have been used to complete the basic information in this article; The main hypothesis in this study is that the study of various improvisation techniques and methods in various forms of Iranian cheerful performances, especially Siah-bazi plays, can increase the awareness, understanding and knowledge of “actors or performers” of improvisational performance capacities in this type of play. It also tries to answer the questions of what improvisation means and what are the different methods of dramatic improvisation? And how and in what process is improvisation used in Iranian joyful plays? And how and through what process do different improvisation methods and techniques manifest themselves in Siah-bazi plays? In conclusion, while defining improvisation and examining its different levels, methods and techniques, as well as introducing and explaining the structure of black play, improvisation methods in different forms of Iranian drama and Siah-bazi plays have been studied and it specified that learning and being Familiar to the some techniques and skills such as “actors’ experience in the process of improvisation”, “Expanding situations in the improvisation process”, “Performers’ relationship and their interaction with each other in the improvisation process”, “Group trust in the improvisation process”, “Verbal action in the process of improvisation” and “Non-verbal action in the process of improvisation” can increase the actors’ knowledge of the improvisational capacity of improvisation in various forms of Iranian juyful play, and specifically Siah-bazi play.