Folk Theatre Research Articles

Contextual Analysis of F. M. Dostoevsky’s Draft Sketch “On the Petrushka Folk Theatre”: the Theme of the Russian People and the Problem of Their Unity

Contextual Analysis of F. M. Dostoevsky’s Draft Sketch “On the Petrushka Folk Theatre”: the Theme of the Russian People and the Problem of Their Unity

Supplemental Material for The Cartesian Folk Theater: People Conceptualize Consciousness as a Spatio-Temporally Localized Process in the Human Brain

Supplemental Material for The Cartesian Folk Theater: People Conceptualize Consciousness as a Spatio-Temporally Localized Process in the Human Brain

Effectiveness of folk theatre in conveying environmental consciousness: a case study of Yakshagana

Yakshagana is a traditional theatre form of Karnataka, a southern state in India, having a known history of over 500 years. It is a powerful medium of folk communication that makes extensive use of independent creative elements like gestures, facial expression, body movement, costuming, make-up, music, dance and dialogue. Restricted to religious and mythological themes until the previous century, Yakshagana has shown much flexibility towards adapting modern themes in the recent decades, thus proving its potential towards development communication. Yakshagana has been extensively used in communicating themes related to health, environment, literacy, family planning, women empowerment, social harmony, agricultural development and the like. The present paper is an attempt to understand the potentialities of Yakshagana in communicating environmental consciousness with the case study of a plot titled Marisha Kalyana. The methodology comprises a thematic analysis of the text, interview with the author, and an audience survey to examine the impact of a live show. The results have been analyzed with the help of a Multiple Regression Model in a theoretical framework of attitude change, persuasion and reinforcement.

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

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.

MAKNA ESTETIK PADA BENTUK DAN FUNGSI PERTUNJUKAN TOPENG BANJET ABAH PENDUL KAB.KARAWANG

Abstract: This article examines the aesthetic meaning of Abah Pendul's Banjet Mask Show which was born from the ideas or ideas of the community, in this case folk theater performances live and develop in the midst of their society, of course, have form and function. The approach used is the semiotic structuralism approach of the Levi-Strauss model which describes an object of study structurally through two sides, namely the outer structure known as the surface structure and the inner structure known as the deep structure. Performances in the community where the Banjet Mask is located and cultural communication events occur in the social interaction between the show and the audience. The purpose of this article is to explore the aesthetic meaning of the Abah Pendul Banjet Mask show. The importance of this research is to determine the correlations of the aesthetic meaning of performing arts. The research method used is qualitative by referring to the structure pattern of the form and function of the performance which is descriptive narrative with triangulation and documentation of performances. In the results of the description of the performance structure, parsing, analyzing and explaining the aesthetic meaning in the performing arts of the Banjet Abah Pendul Mask in the Karawang community.

RE (VIEWING) THREE-DIMENSIONAL WORLD OF PAKISTAN’S FOLK THEATRE ARTIST IN SAEED’S FORGOTTEN FACES: A PSYCHOANALYTICAL CRITIQUE

Purpose of the study: This study contextualizes within the border of psychoanalytical perspective specifically focusing on Freud's theory of personality and Lacan’s module of the psyche to evaluate an artist’s mental state that how his/her mental state fluctuates.
 Methodology: Bali Jatti is taken as an exemplary character to project the reality of being an artist. This analysis presents her three-dimensional world, real, theatrical, and psychological, to represent the challenges she faces as she opts to embrace the life of folk theatre. It explores her psychological life and the chaos in which she spends the rest of her life. It probes into social taboos and stigmas that are associated with her life that makes her a stereotypical icon.
 Main Findings: This research concludes that the psychological world of folk theatre Bali is under the hegemonic supremacy of the other two worlds, real and theatrical. This diligent inquiry leads the reader through a steady stream of events of Bali's life which is taken as an exemplary character to project the reality of being an artist.
 Applications of this study: This study provides guidelines to academia and probes into an exploration of the novel concept of Pakistan folk theatre and its artist's three-dimensional world.
 Novelty/Originality of this study: From a theoretical perspective, this study provides important insights into literature by exploring the most demanding skills in folk theatre artists and their three-dimensional world that formulates their destiny and takes their journey of life from glory to demise.

Prominence of Social Stigmas and Hierarchies in Folk Theatre Artists' Conscience

This article probes into an exploration of Social stigmas and hierarchies in Saeed's Forgotten Faces that result in the detachment of an artist in society. The colonial rule of society proposed a new value to this research which mainly focuses on discrimination which leads towards the demise of folk theatre and its artists. Demise is the outcome of psychological discrepancies that come their way. This hegemonic supremacy of societal rules compels them to not have their own discourse and their desired way of spending life. They cannot keep their personal lives private. Being in this profession, artists sacrifice many things that a person from another profession can't dare to think so. In the finale, the present study contextualizes within the boarder of Freud's theory of personality and social-cognitive approaches to unravel reality. The article results that you lose your soul first and lose your mind at last, which is the final destruction of the artist life: social hierarchies and the stigma of being bad to prove turmoil for artists by destroying their mental peace.

Role of Museums in Education

Museums play very important role in the education, because every museum contains the collection in the form of tangible and intangible heritage. If we talk about tangible heritage then we can include coins, pottery, metal, wooden material etc. and in intangible heritage we can consider craftsmanship, skill demonstration, folk theatre etc., but museums not only preserve the cultural objects but also exhibit to them and museums provide the facilities to the students, and researcher so that these user can use the museum's collection for education purpose. If we teach to the student through object then student can understand easily and he can perceive the concept of object therefore we should visit the museum to students or researchers so that they can research on the original object and there are many more methods of education which can be adopted by the museum for providing the learning opportunities to user. In this paper we will describe some tools and techniques used in the museum that help in giving education.

Сочинения Л. Н. Толстого в истории любительского народного театра

The paper aims to reveal influence of L. N. Tolstoy’s artistic heritage of the 1880-1900s on folk theatre. The article considers the following issues: three periods of folk theatre development in 1862-1917, scenic life of Tolstoy’s plays, their creative history. Scientific originality of the study lies in the fact that relying on a wide range of sources - archival materials, periodicals of the mentioned period, special literature, - the researcher presents a comprehensive overview of the problem. The findings are as follows: influence of Tolstoy’s personality and creative work on folk theatre formation is revealed; unknown productions of “The First Distiller” are mentioned. Creative history of 1910 plays is presented from an uncommon perspective: from the state of this type of theatre towards the writer’s artistic-aesthetic, moral and philosophical searching.

Koncepcje teatru ludowego. Romain Rolland i Jędrzej Cierniak

The basis for conceptions of folk theatres, formulated at the end of the 19th century and in the first 40 years of the 20th century by Romain Rolland and Jędrzej Cierniak, was the conviction that changes in the economy and education, the formation of social and civic consciousness, as well as changes in customs have an impact on the art of theatre being the most social of the fields of artistic culture. The people understood as “the masses” need and will need theatre that meets their expectations and provides decent entertainment. The basis for Rolland’s folk theatre was supposed to be scientific research enabling one to determine the specific environment in which the theatre operates. The permanent and professional theatre in itself should operate for a specific audience as an institution attempting to meet the expectations of its spectators. Cierniak, on the other hand, concentrated on self-generated, local theatre. He tried to model its forms. In time, the theatre was to co-create the Polish national theatre. For Cierniak, folk theatre is not only an art form but also a way of satisfying the need for theatricality. It coexists alongside professional theatres. Being both familiar and local, it perpetuates local traditions and rituals, prolongs their vitality in the consciousness of the environment, and also reacts to new phenomena to which its actors and spectators are subjected. And here, like Rolland, Cierniak sees the need for an alliance with science – ethnography, ethnology, folklore studies – to save folk culture understood as tradition and ephemeral creativity (occasional songs, rhymes, etc.). Both Rolland and Cierniak see outdoor performances as important forms of creating and sustaining community and a marker of local identity. For both theorists, it is evident that folk theatre is local, autonomous, oriented towards the local community that shapes it (Rolland) or from which it derives (Cierniak). Phenomena currently taking place in theatrical life confirm the need expressed by Rolland and Cierniak for decentralisation of theatre, as well as the potential of local history and traditions. Examples of theatres particularly rooted in local history include the Zagłębie Theatre in Sosnowiec, the KOREZ Theatre and the Stanisław Wyspiański Theatre in Katowice, the Helena Modrzejewska Theatre in Legnica or anthropologically oriented: Teatr Węgajty/Field Project and the Gardzienice Centre for Theatre Practices.

Tradition and Literature (Culture of Laughter of Mali and Guinea)

This article continues the topic of the previous one [Zavyalova, Kutsenkov, 2020]. It reveals how great is the role of humor in the cultures of West Africa, where it manifests itself in various spheres of life of its peoples. The Kɔ̀tɛba Folk Theater in Mali and Guinea is another traditional aspect of humor based on satire. The secret society of Kɔ̀rɛduga “jesters” is characteristic of the traditional cultures of Manden. The Dogon have guardians of brussa, alamonyou, who play the role of clowns during the release of masks, and female jesters yayeré, who are wives of the inhabitants of a given village, originating from other villages. The Manden and Dogon humor permeates all spheres of the traditional way of life, and it plays one of fundamental roles in the manner of communication, in the theater and in oral literature. Thus, satire is aimed either at resolving possible conflicts in the absence of mutual understanding between representatives of various social, age and other groups, at resolving conflicts associated with violation of etiquette. All satirical folklore genres function on this basis. Fairy tales and anecdotes ridicule violations of the norms of etiquette inherent in this particular culture. The folk theater touches on topical, actual violations of traditional norms of behavior. In conclusion, the authors note that humor is one of the foundations of the “virtual” reality of the culture created by these societies. When such regulators are violated and their semantic content changes, the whole reality and even the very existence of these peoples will change.

Application of materials-engineering research to Indian traditional artforms, A case-study: Bhujakeerthi of Yakshagana

Traditional dance-drama performing arts in India has a history of about 1000 years or even more. Most of them are multi-dimensional folk theatre comprising of dance, music, dialogues, body language, stage techniques, costumes and makeup – making it one of the most effective medium of communication, education and entertainment. Technological developments taking place in mainstream segments tend to neglect artforms. There are many areas related to these artforms where technical research work is required to support the artists and other stake holders. A case study related to one of the ornaments called Bhujakeerthi of Yakshagana, a traditional dance-drama of Karnataka (one of the southern state of India) is carried out in this work. Traditionally, Bhujakeerthi is made out of wood (Gmelina arborea). But, the issues of inconsistency, cost, weight, lead-time, etc. create room for research and development. Fused Deposition Modelling (FDM) technique of 3D printing process can be employed effectively to solve most of these issues. By employing Finite Element Analysis (using ANSYS®), this work explores the possibility of using 3D printing materials such as, Acrylonitrile butadiene styrene (ABS), Polylactic Acid (PLA) and Nylon6/6 for making beads of Bhujakeerthi. Bead is redesigned to ensure minimum weight. Results of static stress analysis, carried out on the re-design of the Bhujakeerthi bead is used for selecting the best material for 3D printing process

Padyak V. Istoriia karpatorusyns′koho natsional′noho teatra y dramaturgiï. Vysokoshkols′kyi uchebnyk. Priashiv: Vydavatel′stvo Priashivs′koho univerziteta, 2018. 344 s.

This article presents the textbook of the famous Transcarpathian and Slovak Rusinist Valery Padyak Istoriia karpatorusyns′koho natsional′noho teatra y dramaturgiï [History of the Carpatho-Rusyn National theatre and drama]. The Rusyns (more precisely, the Carpatho-Rusyns) are the autochthonous East Slavic population of the Carpathian region: Ukrainian Transcarpathia and the adjacent regions of Poland, Slovakia, Hungary, and Romania. There is also a Rusyn diaspora present in Serbia, Croatia, the USA, Canada, and other states. The number of Rusyns in the world is a controversial issue, one reason for this being their polyvariant identification. At present, a significant proportion of ethnic Rusyns consider themselves representatives of an independent people, who are not Ukrainian or Russian. Padyak, a staunch supporter of the Rusyn ethno-national identity and at the same time a serious academic scientist, made an attempt to trace the development of drama and theatre in the Rusyn environment in parallel with the processes of Rusyn national self-determination. The author traces the evolution of folk theatre performances to the modern Rusyn national theatre, which is actively being developed in different states with Rusyn inhabitants. V. Padyak pays increased attention to theater and drama in the second half of the nineteenth and early twentieth centuries, as well as during the period when Subcarpathian Rus (Transcarpathia) entered the structure of interwar Czechoslovakia and Horthy Hungary. In contrast, the author hardly examines post-war theater life in the Transcarpathian region, believing that its study is more appropriate in the context of Ukrainian, rather than Rusyn, studies. This textbook by V. Padyak, addressed primarily to Rusynist students at the University of Prešov (Slovakia), is of undoubted interest to anyone interested in the history and culture of the Rusyns.

Ayai Folk Theater: A Flirtatious Battle of Words and Wits

Ayai Folk Theater: A Flirtatious Battle of Words and Wits

Nautanki: Evolution, Issues and Challenges

A major form of folk theatre, Nautanki, still holds an important place in the collective consciousness of the rural mass of the north India. The storyline of this musical folk theatre, exceptional in preserving the written texts, is derived from multiple sources ranging from mythology, history, romances, and folklores to contemporary icons. With its emphasis on music, both vocal and instrumental, accompanied by its most important companion Nakkara or Nagara, the highly intensified operative theatre can hold the nerves of thousands of people for the whole night. Due to the pressure of Bollywood and new sources of entertainment, Nautanki started losing its distinctive character, yet its survival has kept the hope alive. The present paper will not only introduce the form in detail, but will also shed light on some of the important issues and challenges in Nautanki today.

Ігровий репертуар традиційного весілля українців

The purpose of the article is to analyze and determine the main typological blocks of the game repertoire of the traditional Ukrainian wedding in its final namely Perezviansk-carnival part, where the leading role belonged to the adult sex and age group. Methodology. The study was conducted based on an interdisciplinary approach, through a systematic analysis of literary, documentary, ethnographic and folklore materials. Scientific novelty. The study fills a significant gap in the study of entertainment and gaming culture of Ukrainians. Conclusions. The predominantly agrarian nature of the traditional culture of Ukrainians is explained by the fact that the main array of the repertoire of the Perezvian (second) part of the folk wedding consists of game practices that mimic the production activities of the farmer. In the context of archaic consciousness, labour processes were closely associated with productive erotic magic, designed to ensure the happiness and well-being of the newly formed family. Games with pronounced erotic symbolism and attributes, accompanied by shameful folklore and expressive vocabulary, belong to the oldest layer of agrarian rituals. In the traditional Perezvian (second) part of Ukrainian wedding, this group is represented by the games “Pestling in Stupa”, “Hammering a Stake” (“Peg”), “Show the Boundary” and others. The category of imitation games includes: “Threshing rye” or “Sowing rye”, “Mower”, “Blacksmith”, “Miller”, “Turner”, “Thresher”, “Combine” and others. The method of game undressing (exposure) observed by us in the wedding custom is the antithesis of carnival dressing and disguise. Both of these game practices are traditional ways of transferring people into a festive atmosphere, where everything is “upside-down”, not as in everyday life. The historical evolution of wedding ceremonies went in different directions: the most barbaric and archaic died out, and others gradually became a folk amateur theatre, characterized by humour, optimism, dramatic improvisation.

M.O. Auezov and Musical Art of Kazakhstan in the Coordinates of the Global World

The article discusses the patterns of national musical art in scientific, critical, and artistic interpretation of the classic of Kazakh literature M.O. Auezov (1897-1961). In this regard, the following aspects have been consistently presented and commented: 1. Fragments from his works on literary studies and publications in magazines and newspapers which focus on the traditions and genres of the musical and poetic heritage of the Kazakhs, significant names and events of opera and theater practice, assessments that reveal the principles of personal perception and interpretation; 2. “musical” pages of literary works of different periods and, above all, the famous novel-epopee, aitys as one of the traditional types of folk theater creativity and the object of recreation in the works of M.O. Auezov-the playwright; 3. multi-genre opuses of composers of Kazakhstan, created as a result of the impact of the plots and texts or dedicated to his memory. The principles of interdisciplinary researches are involved, which enabled the identification of a new level of understanding of the chosen topic, which can be productive in view of practical implementation, subsequent reflection and development in methodological aspect, and active transfer in the educational environment. The obtained and formulated results are significant in the context of the currently obvious interest in the historical past, rich traditions which are typical for the folklore and national professional sphere, figures that are generally significant for the culture of the nation.

Mythology in folklore and its features

In the article, folk art - artistic, creative-practical and amateur activity of the masses; folklore, folk music (folklore), folk theater (performing arts), folk dances (dances), puppetry, wood and wooden foot games (folk circus), folk fine and applied arts of traditional material and intangible culture information and examples of art and technical and artistic hobbies

Громада полонених вояків-українців царської армії у таборі Вецляр, Німеччина (вересень 1915 – листопад 1916 рр.): за матеріалами ЦДАВО України

У статті йдеться про специфіку функціонування громади полонених українців у таборі Вецляр (Німеччина), вересень 1915 – грудень 1916 рр., для висвітлення чого авторами було використано значний масив документів, що зберігаються у Центральному державному архіві вищих органів влади та управління України, а також у Центральному історичному архіві України, м. Львів. Початки організованого українського життя у таборі були позначені великими труднощами через протидію чорносотенців, але завдяки наполегливим зусиллям членів Просвітнього відділу СВУ та активу полонених у Вецлярі було створено кілька гуртків та інституцій (народний театр, хор, оркестр, народну школу, кооператив та ін.). Завдяки інтенсивній культурно-освітній роботі кількість їх членів суттєво збільшилась, після чого стало можливим утворити в таборі громаду полонених українців на чолі з власними представницьким і виконавчим органами.

Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies

Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies