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The Pragmatism of Herat Folk Theater HAFIZULLAH BAGHBAN Folk theater is a living component of circumcision and wedding festivities in peasant villages and nomad camps in western Afghanistan. Tradi- tionally preserved oral texts, traditional troupes of itinerant actors, and temporary stages characterize this form. Although no written evidence about native Afghan theater is at hand, studies of similar troupes in neighboring countries of the Middle East throw light on its past. In Iran Mejid Rezvani (1962:109) indicates that dramatic art had been known before the

CHAPTER XIII COMEDY IN THE FOLK THEATRE The folk theatre, in one form or another, brought much pleasure to wide sections of the Russian people for several hundreds of years. One of the causes of its great popularity was undoubtedly the fact that it was a theatre o f comedy in which humour and laughter were predominant, a theatre in which the people could find relaxation and shake o f f the cares o f their diffi- cult life. The moods portrayed by the folk actors, making the best of limited knowledge and means of expression, were as clear-cut and bold as

Folk Theater, Community, and Symbols of the Unconscious Dinnah Pladott Can psychological concepts aid us in the reading of literary texts with­ out overlooking or leaving out "their literary specificity"?1 Could psy­ chology possibly even enlighten us about the functional relation be­ tween form and content in such texts? The question came to me as I was puzzling over the curious status of Jewish (Yiddish) drama and theater (1830S-1930S). Here lies the curiosity of the phenomenon. In­ ternally, within the Jewish community (first in Europe, then in Amer­ ica

Open Access. © 2019 Toni Bernhart and Janina Janke, published by De Gruyter. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. Toni Bernhart and Janina Janke The Crystallization of Early Modern European Drama in the Folk-Theater Tradition in Tyrol The Marienberg Griseldis from 1713, Staged in 2016 Since the Late Middle Ages, the southern part of the German-speaking area  – Bavaria, the German-speaking lands of the Habsburg Empire, especially the County of Tyrol


The author takes the contemporary theatre performance of Mátohy [The Spooks] and maps out the use of original folk theatre masks in a new theatrical context. He describes and characterizes the changes that occur as a consequence of transposing folk masks from their traditional environment to the contemporary stage.

Genese einer kulturgeschichtlichen Formation

, obscenities, connection with birds, etc. Whether these parallels are ‘‘archetypical’’ or derive from some common source, is not clear. In all cases, the potential moral response evoked by the description of quasi-dramatic events is cancelled by comic devices aimed at dehumaniz- ing the characters and making them similar to puppet-like characters of folk theatre. ‘‘I know what you’re thinking about,’’ said Tweedledum: ‘‘but it isn’t so, nohow.’’ ‘‘Contrariwise,’’ continued Tweedledee, ‘‘if it was so, it might be; and if it were so, it Humor 15–4 (2002), 419–439 0933

Koreana in the Japanese Colonial Gaze, 1910–1945

SLAVISTIC PRINTINGS AND REPRINTINGS edited by C. H. V A N S C H O O N E V E L D Indiana University 104 THE RUSSIAN FOLK THEATRE by ELIZABETH A. WARNER University of Hull 1977 MOUTON THi; Η AG UI - PARIS © Copyright 1977 Mouton & Co. B.V., Publishers, The Hague No part of this book may be translated or reproduced in any form, by print, photo- print, microfilm, or any other means, without written permission from the publishers. ISBN 90 279 3325 1 Printed in the Netherlands To the memory of the late Petr Grigor'evi5 BOGATYREV, a constant source