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CHAPTER Χ COSTUME IN THE FOLK PLAYS 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 the most

oplodňovala ruské slovesné umění na úsvitě nových ruských dějin. RJCB 1938u. title in translation: a russian echo of a czech folk play. Originally in Lidové noviny, vol. 46, no. 519 (Oct. 15, 1938), p. 6. signed prof. dr. roman Jakob­ son.

Volksschauspiele
OPEN ACCESS
Genese einer kulturgeschichtlichen Formation

course. 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- guise 33 2 The Marshfield Paper Boys: The Stage as Circle 34 3 The Marshfield Paper Boys: The Play as an Action 35 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 Folk Play: A Children's Per- formance 42 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 folk plays 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 angehören sollen. Literatur Bourdieu, Pierre (2005): Die männliche Herrschaft, Frankfurt a. M. Degele, Nina (2003): Happy Together. Soziologie und Gender Studies als pa- radigmatische Verunsicherungswissen- 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 Folk Played in the Attempt to Reconstruct

No. Hincki Sho- ten 1954. 229 S. Sarathchandra E. R., The Sinhalese Folk Play 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. 72 S. Zemmaro Toki, Japanese No Plays. Tokio: Japan Travel Bureau 1954. 220 S. 4