Traditional Drama Research Articles

Peran Pemerintah dalam Pelestarian Kesenian Ludruk di Surabaya

Ludruk is a native East Javanese folk art originating from Jombang, but is also a typical Surabaya cultural mascot. Ludruk is a traditional drama performed by an arts group on a stage based on stories about people's daily lives. Ludruk art is part of East Java's rich and unique cultural heritage. Its preservation is important to maintain local cultural identity which can be a valuable asset for the community, due to the threat of loss and extinction. Ludruk is not only an artistic performance, but is also part of social life and preserving the community's identity can help strengthen a sense of solidarity and pride in local culture. . By choosing this topic, researchers can make a meaningful contribution to efforts to preserve and promote the desirability of ludruk art for the future. This research method is descriptive qualitative by collecting primary data through in-depth interviews and observations from related informants. Based on the research results that: 1. The role of the Surabaya City Culture, Youth and Sports and Tourism Department (Disbudporapar) as a regulator, plays a significant role in supporting arts and cultural activities in the preservation of ludruk art, ensuring that this traditional art remains alive and growing among young generation in ASPK policy.2. The role of the Department of Culture, Youth and Sports and Tourism of the City of Surabaya (Disbudporapar) as a facilitator, currently there is still a lack of support and facilities, allowing regeneration, regeneration of ludruk artists to be slow, competition with modern media, limited training: training programs are often undirected and inconsistent. 3. The role of the Department of Culture, Youth and Sports and Tourism of the City of Surabaya (Disbudporapar) as a dynamist, has been running well, but the current condition is that many ludruk groups in Surabaya have arts registration marks (TDK) and are registered at Disbudporapar. However, many of them have already died and Ludruk performances currently only rely on invitations from the Surabaya City Youth and Sports Culture Service (Disbudporapar).

An Analysis of the Spatiotemporal Distribution and Influencing Factors of National Intangible Cultural Heritage along the Grand Canal of China

Intangible cultural heritage (ICH) reflects a region’s history and culture, serving as a significant indicator of regional identity and cohesion. The Grand Canal Basin in China is rich in historical traditions, containing a rich array of ICH resources. Analyzing the spatiotemporal distribution characteristics and influencing factors of ICH within the Grand Canal Basin of China can provide a scientific basis for developing cultural industries and promoting sustainable regional economic growth. This study employed GIS-based spatial analysis methods, including kernel density estimation, the mean nearest neighbor index, and standard deviation ellipse, to investigate the spatiotemporal distribution of 504 national-level ICH items (including extensions) in the Grand Canal Basin of China. The results demonstrate the significant spatial clustering of ICH, with concentrations in high-density regions, particularly at the northern and southern ends of the canal. There is significant regional disparity in the distribution of ICH, with an uneven quantity and structure, predominantly featuring traditional skills and traditional drama categories. The average centroid shift of ICH exhibits a north-to-south oscillatory trajectory. However, overall, it demonstrates a southward-moving trend. This study also underscores the impacts of urbanization, population density, economic development, and transportation infrastructure on ICH distribution. Among these factors, urbanization exerts the strongest influence on the spatial distribution of ICH. The impact of the natural environment is relatively minor; however, it remains a significant element that cannot be overlooked during development. This research offers valuable data and insights for local governments and institutions to formulate evidence-based strategies for the protection and sustainable utilization of ICH resources, promoting sustainable cultural and economic development in the Grand Canal Basin.

The Spatial Differentiation Characteristics and Influencing Mechanisms of Intangible Cultural Heritage in China

Intangible cultural heritage represents a cultural evolution shaped by human responses to adapting and transforming environments. Unveiling the characteristics and patterns of its spatial distribution can offer a more scientific foundation for the protection of intangible cultural heritage and the development of heritage tourism. By using ArcGIS software and Geo-detector, the regional differentiation characteristics and influencing mechanisms of Intangible Cultural Heritage, specifically the Hometown of Chinese Folk Culture and Art (HCFCA), have been investigated. Results show that the distribution and structure of HCFCA in China vary significantly across regions and categories. Eastern China holds the highest number, while Southern China has fewer. Traditional fine arts and dance dominate, with folk literature being less represented. HCFCA exhibits a clear clustering trend, reflecting a "Polycentric Agglomeration" pattern, particularly in traditional drama, calligraphy, craftsmanship, sports, performing arts, and acrobatics. The study presents an influential mechanism model, with the natural environment as foundational, economic development as the primary driver, social development as supplementary support, and historical background as a catalyzing factor. This understanding not only enriches theoretical insights but also provides a scientific basis for the protection of intangible cultural heritage and the development of heritage tourism.

Decentralization and Diversification: The Redefinition of Traditional Drama by the Post-theater Theater

Decentralization and Diversification: The Redefinition of Traditional Drama by the Post-theater Theater

Eimear McBride’s mouthpieces and the uses of a Beckettian dramatic structure for meaning

This article investigates Eimear McBride’s collected mini-plays published as Mouthpieces in their written form. Although we do not examine the performance of the plays, radio production of the plays by RTÉ’s Drama On One with actors Eimear McBride and Aoife Duffin sheds light on this discussion. The aim of this study is to delve into how the pieces stand compared to Samuel Beckett’s legacy in terms of genre and dramatic structure for the construction of their meaning. Furthermore, the presence of elements from other dramatic traditions are highlighted as well, with a quick view over how they influence the texts’ structure. The research also inspects how the hybridity of genres of the pieces, described by McBride as two performances and one prose/performance, influence the topics and meanings of the text, and vice-versa, how the content of the work forms and informs its structure for the creation of meaning. Moreover, there is a brief analysis on how the pieces stand apart and together as three pieces of a single work, offering insight on McBride’s newest publication.

THE GREEK MYTH IN AFRO-BRAZILIAN CULTURAL SPACE (STUDYING THE FILM “BLACK ORPHEUS” DIRECTED BY M. CAMUS)

The article focuses on the study of the peculiarities of interpretation of Greek myth in the Afro-Brazilian cultural space using the material of the film “Black Orpheus” directed by M. Camus, based on the play “Orfeu da Conceição” by Vinicius de Moraes. The author traces the origins of the appeal to the image of Orpheus in the works of Camus and Moraes, and reveals the connection with the French dramatic tradition and cinema. M. Camus transforms the Greek story through the prism of the culture of the Afro-Brazilian population of Rio de Janeiro — the inhabitants of the favelas. The film brings to the fore the musical component of the myth, with the help of which the originality of the Afro-Brazilian tradition and carnival practices of Latin America are revealed. Orpheus in the film appears as a tram driver, singer and leader of a samba school. His image combines the Dionysian principle (the carnival tradition into which Orpheus is “inscribed”) and the Apollonian (expressed in lyrical songs and cultural codes of bossa nova). The carnival “building” of mythological reality allows us to touch the spiritual layers of the Brazilian tradition — the syncretic cult of Candomble. The space of the Macumba ritual symbolizes the Kingdom of Hades, in which dialogue with Eurydice is carried out through musical magic that opens doors between the worlds. The passage through the Kingdom of the Dead represents a rite of passage in which the hero dies and is reincarnated in a new form: in the finale, Orpheus “transfers” his musical gift to the boy, symbolically gaining new life in him. The interpretation of the ancient Greek plot in the space of Afro-Brazilian carnival practices helps to reveal the civilizational specificity of Latin America and Orfeus as an “eternal image” that embodies the divine gift of love, the magic of music, and eternal existence through a change of forms.

Research on the spatiotemporal distribution and factors influencing intangible cultural heritage in Fujian Province from a multiscale perspective

The spatiotemporal distribution of intangible cultural heritage in Fujian Province, China, and the factors that influence it were explored using multiple spatial scales. The samples include five batches of Chinese national-level and six batches of Chinese provincial-level intangible cultural heritage items, totaling 554. The samples involve city-scale, county-scale, and traditional dwellings, and the analysis uses various methods, such as gravity migration theory and the GeoDetector model. The results show that, in terms of historical timescales, the moving trajectory of the center of gravity of the intangible cultural heritage distribution in Fujian Province involves reciprocation from north to south, and the center moves south in time from the pre-Qin period to the modern period. Spatially, intangible cultural heritage in Fujian Province forms an overall aggregate pattern, among which traditional skills fall into an aggregate pattern; five categories, including traditional drama, fall into an aggregate-random pattern; and four categories, including traditional medicine, fall into a random pattern. The traditional art category and other intensive distribution areas are located in coastal areas, and the traditional dance category is scattered in northwestern Fujian Province. Experiments on the factors influencing intangible cultural heritage distribution were conducted at the city and county levels. At the city level, human geography factors, such as the resident population, urbanization rate, and gross domestic product, have a greater influence on distribution. At the county level, the influence of physical geographical factors clearly increases. The dominant factors for coastal cities are the normalized difference vegetation index (NDVI), average precipitation, and coastline, and that for inland cities is elevation. From the perspective of categories, the dominant factors of traditional music and Quyi are human geography factors, and those of other types of intangible cultural heritage are the synergistic effects of physical geography and human geography. The conclusions of this study are helpful for systematically protecting and developing the intangible cultural heritage industry and improving research theories and methodological systems of the spatiotemporal distribution and mechanism influencing intangible cultural heritage.

Drama in the dream factory: a teacher’s experience and understanding of promoting social and affective learning in physical education

ABSTRACT Background and purpose The purpose of this accidental autoethnography was to create a performative script to help better present and understand the array of class-by-class experiences and associated emotions I, the first author, encountered as a teacher–researcher in my efforts to evolve my pedagogy to promote social and affective learning in Physical Education (PE). Research design An accidental ethnographic case study design was implemented focusing on four lessons I taught with 16 ninth-grade students which served as critical turning points in my experience and understandings of promoting social and affective learning. Three data sources were utilized: a teacher–researcher journal, post-teaching reflective analyses and field notes conducted by the second author, who served as a critical friend. Data analysed were drafted into a performative script produced in the form of a traditional drama; my experience of teaching the four lessons brought to life in four acts entitled Drama in the Dream Factory. External audits were conducted by the additional authors. Findings/Discussion My concerted efforts to promote social and affective learning led me to experience an array of intended and unintended consequences across these four lessons, both professionally and personally. I found myself repeatedly conflicted as I strayed out of my comfort zone and away from my professional, pedagogical and content preferences to teach for social and affective learning. I was slowly learning to embrace vulnerability when faced with charged scenes directly and indirectly emerging. Conclusion In utilizing this approach for research and self-reflection, I came to performatively unpack and understand the rich array of emotional experiences I encountered while pivoting in the moment to try and meet the learning situation at hand. This creative approach offered one such way to meet Armour et al. calls for more effective professional development involving a ‘mix of embodiment, individual experience, culture and power that are at the heart of everyday practices’ in PE (Armour et al. 2017, 804). A creative approach such as this can subjectively challenge teachers to stray out of their comfort zones and better wrap their heads around the experience of doing so.

Idiom-idiom Estetik Cerita Teater Tradisional Amaq Abir

The traditional drama story Amaq Abir is a story performed in the traditional Amak Abir theater performance in Nyampe hamlet, Marong village. As an art form, the story highlights the local wisdom values of the Sasak tribe which is interesting to study, especially in eastern aesthetic studies. Eastern aesthetics as a study of traditional drama has not been widely studied. The aim of this research is to find the form and meaning of eastern aesthetics which are keywords in the traditional drama story Amaq Abir. The theory used is eastern aesthetics. Aesthetics can be interpreted as the beauty/truth that forms a work. Meanwhile, the method is used in this research is a qualitative method with a descriptive nature. In interpreting data, holistic methods are used. This method used in interpreting philosophical meaning. The results of the research found that there are aesthetic idioms that form the traditional drama story Amak Abir, including steadfast, explaining human character who has principles in thinking and acting. Adigang-adigung explains the arrogant and arrogant character of humans. Manut explains the human character who obeys the orders. Jiwe-seli explains the human character who cares about others/gotong royong. Sekti explains the character of humans who have extensive knowledge. Litem-putek explains the character of humans who have the characteristics of good and bad.

A Study on the Spatial Structures and Mechanisms of Intangible Cultural Heritage and Traditional Villages in the Dongting Lake Basin

This study focuses on 1209 national and provincial intangible cultural heritage items and 1234 traditional Chinese villages within the Dongting Lake Basin. Using kernel density analysis, centroid models, coupling models, and quantitative spatial–structural models, the present research analyzes the spatial–structural characteristics and formation mechanisms of intangible cultural heritage and traditional villages to provide scientific support for their preservation, inheritance, and effective utilization. The results revealed the following: (1) Intangible cultural heritage and traditional villages in the Dongting Lake Basin exhibit a very concentrated spatial distribution, with similar spatial–structural characteristics. (2) High spatial coupling of intangible cultural heritage and traditional villages is observable in the sub-basins of Dongting Lake, such as the Yuanjiang, Zishui, and Lishui basins, whereas the Xiangjiang Basin and Dongting Lake area present relatively lower levels of spatial coupling. In terms of the categories of intangible cultural heritage, four of them—cultural heritage, folk literature, traditional music, traditional dance, and traditional drama—have the smallest deviation distance and index values from traditional villages. The coupling degree was higher than 0.70, and there were some differences in the coupling degree between the other six categories of intangible cultural heritage and traditional villages. (3) The spatial–structural characteristics of intangible cultural heritage and traditional villages in the Dongting Lake Basin emerged from the combined effects of multiple factors, including internal connections between the two, as well as external factors such as the natural environment, socio-economic conditions, and cultural policies, all of which play crucial roles in the formation processes of these characteristics.

“Eene schoone engelsche troupe”: William Durham and His Company of Travelling Performers in Ghent (1713) and Germany (1724–1728)

Abstract Relying on information contained in Prosper Claeys’ Histoire du théâtre à Gand (1892) and in notes bynineteenth-century German theatre historians, the present essay seeks to partially reconstruct the repertory of William Durham, the (largely forgotten) manager of a troupe of wandering actors, who performed at Ghent in 1713 and in various German cities between 1724 or 1725 and 1728. No particulars are available about his performances at Ghent, which appear to have been a combination of acting and rope-dancing. Contemporary play-bills, on the other hand, reveal the diverse nature of three pieces which Durham produced in German-speaking areas: (1) Das durchlauchtigste Müllermädchen, possibly an adaptation of aseventeenth-century English comedy by John Fletcher and William Rowley; (2) Genovefa, a play about the legendary eponymous character, whose story had been widely circulated in Europe; and (3) Der transmetamorphosirte Arlequin, a Harlequin-Faustus Hauptaktion, which may have taken its cue from a spate of popular harlequinades on the contemporary London stage. Although the scanty available evidence does not allow of any firm conclusions about his international standing, Durham may have been the exponent of a ‘transnational’ or ‘transcultural’ theatre bridging the gap between various dramatic traditions.

Explore the Effective Path of Inheriting and Developing Traditional Drama in the Background of the Internet-Take Henan Opera as an Example

Henan Opera is a treasure in China's traditional culture. However, in today's diversified and information age, its old inheritance and development model can no longer better meet the needs of the people in the new era. In the process of development and inheritance, Henan Opera has been impacted by online media, especially among the younger generation. This paper summarizes the artistic characteristics and inheritance value of Henan Opera culture, investigates the present situation of the inheritance and development of Henan Opera, and selects the development path that conforms to the preference of the younger generation by questionnaire survey combined with the existing inheritance paths.

Intangible Cultural Heritage Awareness Survey among Residents in Zhangzhou City: A Perspective on Cultural Heritage Security

This study, taking the perspective of cultural heritage security, conducted a survey among residents of Zhangzhou on their awareness of intangible cultural heritage (ICH) using questionnaires. The findings reveal that residents of Zhangzhou exhibit relatively high awareness of ICH in folk customs, fine arts, and drama, while awareness is comparatively lower in music and folk performing arts. The primary channels of awareness include new media (66.6%), traditional media (53.3%), and family and friends (51.5%). Traditional drama (60.6%) and traditional craftsmanship (57.3%) emerge as the most prominent areas of interest among ICH projects. The majority supports heritage protection through live demonstrations and multimedia materials, emphasizing challenges such as insufficient government support, inadequate media coverage, and a shortage of heritage inheritors. The government is perceived as the primary responsible entity (32.9%), while heritage inheritors are considered the main custodians (36.2%). Regarding consumption related to ICH, most respondents adopt a cautious stance, with 59.8% indicating an annual spending of less than 500 yuan. In conclusion, the survey calls for collective efforts within society to address key issues in heritage protection, ensuring its sustainable inheritance and development.

A Study on the Innovation of Traditional Drama Performance Forms by Intelligent Media Based on AI-Assisted Analysis Framework

Abstract This paper investigates the impact of contemporary entertainment preferences among youth, who increasingly favor novel forms over traditional theater arts, driven by the rapid pace of modern life. Specifically, it explores how action recognition technology can transform theatrical performance forms through the lens of intelligent media. Utilizing the inertial sensor MPU9250, the study mathematically captures the action characteristics of theatrical performances using quaternion algebra. This process involves preprocessing steps that set the stage for coordinate system transformations. Furthermore, the research constructs a database of theatrical morphology by classifying and storing morphological features derived from a human 3D skeleton dataset. The effectiveness of motion recognition technology in enhancing theatrical performances is then empirically tested and analyzed. The results reveal that this technology successfully identifies morphological movements in traditional theater with accuracies of 74.42%, 73.77%, and 64.45%, respectively. An additional pedagogical assessment highlights the significant role of motion recognition technology in educational contexts. In particular, the study notes a substantial difference in the ‘imagination’ dimension scores between control and experimental groups. The control group scored an average of 6.67, whereas the experimental group achieved 8.07, indicating enhanced engagement and cognitive stimulation through the application of motion recognition. These findings underscore the potential of such technology to offer theoretical and practical insights for the revitalization and progressive development of traditional theatrical performance forms.

A Comparative Study of Female Images Between Traditional Drama and Modern DramaTaking Two for the Road and Dou E Yuan as Examples

As a mature work of ancient Chinese tragedy, Dou E Yuan not only accuses the cruel reality of disregard for human life, but also has a great influence on later literature and drama. Up to now, it has also appeared as a classic in stage performances, teaching books, etc. Many dramas are deeply inspired by its artistry, theme and realism. The "red literary works" with the same goal as "two for the road" also need a strong political propaganda means to publicize revolutionary thoughts by means of this art form. From the perspective of female images in Dou E Yuan and Two for the Road, this paper comprehensively analyzes the embodiment of female personality characteristics, values and artistic techniques in the two dramas, and compares and investigates the characteristics, situations and changes of gender consciousness of female images in the two dramas.

The “Hibernicising” of George Farquhar’s Plays after Irish Independence

Since the establishment of the Irish Free State in 1922, theatres and theatre companies in the twenty-six counties have had an uneasy relationship with the work of Derry-born playwright George Farquhar. This is presumably because Farquhar’s fervent loyalty to the English crown and his “unenlightened” views on religious tolerance – including the frankly sectarian treatment of Catholicism in his later plays – do not sit well with theatremakers who want to rebrand him as a narrowly and uncomplicatedly Irish playwright. While some post-independence productions of Farquhar have subtly and cleverly exploited Irish elements already present in his scripts, most have crudely imposed Irish elements onto his work. Farquhar is, of course, not the only playwright from the distinguished line of England-based, Irish Anglican dramatists to have had his England-set works “Hibernicised” in this way; works by Oliver Goldsmith, Richard Brinsley Sheridan, Oscar Wilde, and Bernard Shaw have all suffered a similar fate in the Irish Free State and Irish Republic since 1922. However, Farquhar has been subjected to this “Hibernicising” process significantly more than any other playwright from the august Irish Anglican dramatic tradition. And, as this article demonstrates, a reluctance to fully engage with Farquhar’s Irish/British hybridity and his views on religion is a key feature of most productions of the playwright’s work in the twenty-six counties since independence. This is, of course, an insult to a man who – according to legend – was inside the walls during the Siege of Derry, who fought for King Billy at the Battle of the Boyne, and whose childhood home (his father’s parsonage) was burned to the ground by Catholic rebels.

Współczesna sytuacja sanskrytu

The contemporary situation of Sanskrit This article presents the current situation of Sanskrit and the importance of Sanskrit in India. How is Sanskrit used in daily life in India and what is its role in the sub-continent’s religions? There are some television channels in Sanskrit and in schools Sanskrit is a mandatory subject. It is one of the twenty-three official languages in India. Sanskrit is not a dead language because there are some villages where people use it in daily life, for example in school, university, worship, and especially on traditional occasions. It has a role like Greek or Latin have in European society. India has a special day celebrating Sanskrit, and a special week for Sanskrit. People have started to learn Sanskrit in German schools and in US schools. NASA also uses Sanskrit. It is possible in the future that computers will work in Sanskrit. Sanskrit is the language in which the Vedas, Upanishads, Puranas, and texts on ethics are written. It has been a language used in India for a very long time. Sanskrit is a classical and historical language of India. The corpus of Sanskrit literature encompasses a rich tradition of poetry and drama as well as scientific, technical, philosophical, and Hindu religious texts. The importance of Sanskrit is quite evident from its all-India scope. It goes without saying that it is the basis of most of the modern Indian languages. I give several opinions of Sanskrit of some of the greatest orientalists that the world has ever produced; I show the consensus of the opinions of men like Professor Max Müller, Veer Savarkar, Rajendra Prasad, and Mahatma Gandhi. These opinions show the cultural importance of Sanskrit in the life of India as the only language that can culturally integrate the entire country and the entire Hindu society.

Historical Analysis of Afghan Folk Culture in Kashmir During 1752-1819

Kashmir, the kingdom of fairies and Paradise on World, has a history of being ruled by several dynasties. Hindu, Buddhist, and Muslim empires have all held power over it. Every dynasty has unique folk customs that reflect the character of that dynasty. A community's residents' way of life is referred to as its culture. Afghan and Kashmiri folklore is based on traditional drama, music, and other activities. The current study makes an effort to investigate the traditional view of Afghan authority in Kashmir from 1752 to 1819. Kashmir history demonstrates that several folk beliefs entered Kashmiri society at this time. In the age of Afghan rule, the perceptions of folk culture are supported by historical evidence like material and non-material sources, direct and indirect sources and oral traditional sources. This study highlights the Afghan folk literary work, plays (Raza Pather and Derza Pather) and traditional Kashmiri theatre (Bhand Pathers). The data used in this study is gathered from secondary sources.

Research on the Countermeasures of the Art Communication of Rare Operas under the Background of Rural Cultural Revitalization—Take the Wa Qing Opera in Tengchong, Yunnan Province as an Example

As a kind of traditional drama with local characteristics, the Wa nationality Qing opera itself has high artistic value, historical value and scientific research value. This paper mainly analyzes the spread of the contemporary process and characteristics of the wa opera, understand the present situation of the wa opera art spread, find out the difficulties and problems in the communication and inheritance of the wa opera art, try to explore spread potential of the wa in the background of rural cultural, explore new path and new strategies of rare operas dissemination under the new background.

Alienation and authenticity in intangible cultural heritage tourism

Intangible cultural heritage (ICH) has the potential to enhance tourism supply and activate tourism resources. This study constructs an alienation and host authenticity model to analyze the attitudes of ICH performers towards support for tourism. Specifically, it investigates the views of giant puppet show performers at the Mount E’mei Scenic Area in China, which is a nationally recognized and first-selected representative traditional drama project of ICH. By employing an asymmetric configuration modeling approach within qualitative comparative analysis, the study identifies six dimensions of ICH performers’ alienation (powerlessness, meaninglessness, normlessness, isolation, self-estrangement, and cultural alienation) and three aspects of their host authenticity (personal value, interpersonal value, and ICH value). Based on these findings, the study confirms the impact of ICH performers’ alienation, host authenticity, and demographic characteristics on their support for tourism. This understanding is crucial for the development, growth, and continuity of a tourist destination. Specifically, this study contributes to a new comprehension of the combined model of alienation and host authenticity, as well as the support for tourism by a host community as represented by ICH performers, thereby making a significant contribution to the understanding of the impact of ICH.