COSTUME IN THE FOLKPLAYS
The types of costume and make-up used both in the dramatic rituals1 and in
scenes such as Paxomuska2 where the connection with ritual is very strong
have already been touched upon. Within the repertoire of the nonritual
theatre, although the traditions of the rituals are by no means entirely for-
gotten, the general approach to the subject is somewhat different.
As one examines the various types of costume which appear in each of the
main plays of the repertoire several distinct patterns begin to emerge, one of
oplodňovala ruské slovesné umění na
úsvitě nových ruských dějin.
RJCB 1938u. title in translation: a russian echo of a czech folkplay. Originally in
Lidové noviny, vol. 46, no. 519 (Oct. 15, 1938), p. 6. signed prof. dr. roman Jakob
In graduate course, we have two years of master course and three years of
doctor course. All are the desk study but of course films, tapes and research-
trip of folk-plays etc. assist the lecture. In both courses theses are required.
However, only seven teachers are too few to cover all these subjects. We
have to ask for the lectures from other departments or even from other uni-
versities to fill up courses on various themes. Sometimes we invite graduates
of our department who are actively working in living theatre or mass media,
as dramatists, directors
I L L U S T R A T I O N S
1 A Marshfield Paper Boy: Costume as Dis-
2 The Marshfield Paper Boys: The Stage as
3 The Marshfield Paper Boys: The Play as an
4 Morris Dancing at Bampton: The Dance as
Community Action 36
5 The Horn Dance 37
6 A Horn Dancer 38
7 The Abbots Bromley Horn Dancers: The
Hobby Horse 39
8 The Minehead Mummers: Dressing in Part 40
9 The Goathland Plough Stots: The Play as a Visit 41
10 The Darlston FolkPlay: A Children's Per-
11 The Midgely Pace Egg Play 43
12 Grenoside Sword Dancers
3 7 6 Kurzbeiträge
elopement that ended in murder or a blood feud murder that has taken place in that
village. They also make songs out of these sad incidents.
We think that in the formation of the future Turkish theatre, these folkplays and
dances and songs that include imitative elements in them, should be considered. This natural
imitative inclination in people should be encouraged and developed so that the dream of
creating a theatre, which appeals not only to a group of spectators living in big towns,
but to people all over our country can be
es – so
zeigten auch die Diskussionen über
Handlungsstrategien – letztendlich an-
kommen, wenn Positionen gegen Poli-
tical Correctness der Vergangenheit
Bourdieu, Pierre (2005): Die männliche
Herrschaft, Frankfurt a. M.
Degele, Nina (2003): Happy Together.
Soziologie und Gender Studies als pa-
schaften, in: Soziale Welt 54(2003),
9 – 30.
Du Bois, W. E. B. (1935): Black Recon-
struction in America: An Essay Toward
a History of the Part Which Black FolkPlayed in the Attempt to Reconstruct
No. Hincki Sho-
ten 1954. 229 S.
Sarathchandra E. R., The Sinhalese FolkPlay and the Modern Stage. Colombe:
Ceylon Univ. Press 1954.
Scott A. C., Genyadana. A Japanese Ka-
buki Play. Tokio: The Hokuseido Press
1954. 32 S.
Scott A. C., Kanjincho a Japanese Kabuki
Play. The Hokuseido Press. 50 S.
Shutaro Miyake, Kabuki Drama. Tokio:
Japan Travel bureau. 126 S. 111. = Tou-
rist Library 7.
Toyoichiro Nogami, Noh. Japanese Noh
Plays, How to shee them Nogakoshoin.
Zemmaro Toki, Japanese No Plays. Tokio:
Japan Travel Bureau 1954. 220 S.