Characteristics of Isfahan Comedy Theater Based on Henri Bergson’s Theories

Abstract

Isfahan comedy theater, as one of the prominent currents of indigenous Iranian performance traditions, has consistently occupied a distinctive position within popular culture and the history of Iranian theater. Relying on local dialect, improvisation, everyday situations, and humor rooted in regional identity, this theatrical genre has succeeded in establishing a profound connection with its audiences. Despite the significance of this performative tradition, its theoretical analysis within the framework of classical theories of laughter has received limited scholarly attention. The present study aims to identify and explain the characteristics of Isfahan comedy theater based on the theories of Henri Bergson and to examine the extent to which these characteristics correspond to the twelve selected parameters of laughter presented in the book Laughter. The research adopts a descriptive–analytical method and is based on library studies, field investigations, and interviews with several practitioners active in this field. Data were collected through the analysis of the two prominent plays Khastgari and Shir To Shir and were subsequently compared with Bergson’s theoretical framework. The findings indicate that components such as the interference of semantic series, repetition, situational inversion, the mechanization of behavior, and the emphasis on linguistic features are actively present in Isfahan comedy theater and constitute a major part of the mechanisms of laughter within these works. Furthermore, the Isfahani dialect and the element of improvisation, as identity-forming factors, play a decisive role in strengthening the social function of laughter. Consequently, it may be argued that Isfahan comedy theater, while preserving its indigenous authenticity, possesses the capacity to be analyzed and interpreted within the framework of classical aesthetic theories of laughter.