Abstract

The Pari-khani ritual among the Turkmen of Iran is one of the most intricate forms of ritual performance, situated at the crossroads of healing practices, theatrical expression, and the reconstruction of cultural identity. This interdisciplinary study seeks to analyze the performative structure of this ritual through the lens of Erving Goffman’s theory of theatricality and Josette Féral’s concept of theatrical rupture.

Within Goffman’s framework, Pari-khani is interpreted as a form of social “performance” that, through its environment, ritual tools, and the embodied actions of the performer (Par-khan), establishes a legitimate and sacred presence in the eyes of the audience. Simultaneously, using Féral’s perspective, three perceptual ruptures within the ritual can be identified: detachment from ordinary space, the tension between role and reality, and the unveiling of the actor’s inner self.

Findings suggest that the Par-khan, as a symbolic mediator, transforms their body into a vessel for mystical and ritual experience. Pari-khani not only reflects the Turkmen worldview but also exemplifies the deep interconnection between performance and meaning in Iran’s oral and ritual traditions.

Keywords: Pari-khani, theatricality, theatrical rupture, Goffman, Féral, ritual