An overview of the Open Scene of the Village and the World

Abstract

What should a book about theater look like? How about the one about a category of theatrical performances in the ethnological dimension? Research project of the Institute of Romanian Philology B. P. Hasdeu stimulates research into socio-cultural contexts and European connections, and Eugeniu Coseriu urges us to open up universally - each with his own field of research. In the sub-theme National Folklore Corpus, the popular (folkloric) theater is my area of expertise and the Latin phrase Theatrum mundi = The spectacle of the world. The world seen as a spectacle it is the universal concept of theatricality. The definite sign of the theater is the character. In illo tempore, man invented an incredible, saving theater, modeling fictional characters from the most abundant matter - from what he did not know, out of ignorance. For phenomena that man could not explain in the beginning, he shaped ... spirits, supernatural beings, elves. The nebula of imaginary characters fell into two broad categories – the good and the evil ones. In order to understand the diversity of masks and clothing of modern times, it is imperative to accept a scaffolding of archetypal dichotomies, resulting from this modeling of beginnings: life - death, good - evil, beauty - ugly, God - Satan, love - hate , wealth - poverty, Christ - Herod, the wise – the stupid ... All the characters - not just from the theater of any kind - are derived from these archetypal dichotomies, and the triggering axial motives, in which it manifests itself in tension, are love, fertility, fecundity, disease, healing, death, resurrection. The Romanian folk theater is part of the same spectacle of the world, and the eternal scene is on the doorstep of the house with a spinster to be married. More important deduction - this is also the engine that sets the characters and the scene in motion: the love that moves the sky and ... the scene.