Статті в журналах: "American Folk and Theatre"

1

Blackstone, Sarah. "The Theatre Museum of Repertoire Americana." Theatre Survey 41, no. 1 (May 2000): 89–93. http://dx.doi.org/10.1017/s0040557400004403.

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Sarah Blackstone is Chair of the Department of Theatre at Southern Illinois University and serves on the Advisory Board for the Theatre Museum of Repertoire Americana. Neil and Caroline Schaffner started collecting memorabilia from the repertoire theater movement during the 1950s. They dreamed of one day establishing a museum that would display their collection and other items connected with this wide-spread popular entertainment form. In 1973, with the help of the Midwest Old Settlers and Threshers Association, and endless hours of effort, their dream was realized in the small town of Mt. Pleasant, Iowa. Since that time, the Museum of Repertoire Americana has prospered, and it currently houses an impressive collection of uniquely American research materials. Dedicated to preserving the rural theatrical heritage of the Midwest, the Museum has materials related to opera houses, circle stock companies, Uncle Tom shows, showboats, and tent shows of all descriptions. I offer here a brief description of the collection, together with information about the National Society for the Preservation of Tent, Folk, and Repertoire Theatre and the annual Theatre History Seminar this organization holds at the Museum each April.

2

Slavíčková, Petra. "Hurston's "real Negro theatre": participation observation of African American folk." Brno Studies in English 41, no. 2 (2015): 91–107. http://dx.doi.org/10.5817/bse2015-2-6.

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3

Biers, Katherine. "Practices of Enchantment: The Theatre of Zora Neale Hurston." TDR/The Drama Review 59, no. 4 (December 2015): 67–82. http://dx.doi.org/10.1162/dram_a_00497.

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Contemporary critical work in the field of new materialism, whose practitioners take seriously the concept of nonhuman agency, has largely neglected the genres of theatre and performance. African American author and folklorist Zora Neale Hurston’s folk revues of the 1930s offer an opportunity to examine the intersections between contemporary new materialist theory and the stage, revealing that black Atlantic performance practices have long explored concepts of nonhuman agency in the service of a cultural and racial politics.

4

Senelick, Laurence. "Offenbach, Wagner, Nietzsche: the Polemics of Opera." New Theatre Quarterly 32, no. 1 (January 7, 2016): 3–18. http://dx.doi.org/10.1017/s0266464x15000822.

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By the early 1870s, the term ‘filth’ had become Wagner’s shorthand for Offenbach. He attacked his fellow composer both publicly and privately and sought to establish a polarity between the two, confining Offenbach to the realm of frivolous and materialistic popular folk culture while casting his own work as exemplary of the new German spirit. Laurence Senelick’s close analysis of Wagner’s writings, including his notorious 1869 essay ‘Jewishness in Music’, shows this critique to be fuelled by jealousy, cultural imperialism, and his growing anti-Semitism. Nietzsche is included here as a counterpoint, challenging his former mentor and celebrating Offenbach as the exemplar of Jewish genius. Laurence Senelick is Fletcher Professor of Drama and Oratory at Tufts University and Fellow of the American Academy of Arts and Sciences. His most recent books include Soviet Theater: A Documentary History (2014, with Sergei Ostrovsky) and the second, enlarged edition of A Historical Dictionary of Russian Theatre (2015). This article is taken from his forthcoming The Offenbach Century: His Influence on Modern Culture (Cambridge University Press).

5

Rapetti, Valentina. "Singing back to the Bard: A conversation on Desdemona with Rokia Traoré." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 337–44. http://dx.doi.org/10.1386/jafp_00035_7.

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Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, sharing some intimate memories and elaborating freely on the role of performers and the importance of focused listening in live stage productions.

6

Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.

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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion in Melbourne, Gartner fears that ‘there are people in this community […] thinking that […] it is the demise of all they believe in their British heritage’. The focus of the article, though, is not the promotion of Asian culture but how to overcome Asian indifference to Australia and the problem of bringing Australian artists to the notice of Asian impresarios and audiences. Australian cultural cringe wins out over Australian Asia-literate political correctness. In another corner of the continent the director and playwright Peter Copeman has been attempting to replace ‘the Euro-American hand-me-downs and imitations’ of mainstream Australian theatre with a theatre project which explores ‘attitudes of the dominant Anglo-Celtic and the Vietnamese minority cultures towards each other, using the intercultural dialectic as the basis of dramatic conflict’.

7

Scuderi, Antonio. "The Gospel According to Dario Fo." New Theatre Quarterly 28, no. 4 (November 2012): 334–42. http://dx.doi.org/10.1017/s0266464x12000632.

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For over half a century the Italian Nobel playwright and performer Dario Fo (b. 1926) developed a theatre that challenged the authority of hegemonic culture, while promoting the validity and dignity of folk and popular cultures. In his satire of the Catholic Church, Fo presents the paternalistic God the Father as an instrument of suppression, while showing Jesus as being closer to the hearts of the folk. His references to apocryphal gospels – the gospels of early Christianity that were rejected by the Roman Church – play into this schema. In two of his plays, First Miracle of the Christ Child (from Tale of a Tiger and Other Stories) and Johan Padan Discovers America, Fo borrows elements from various apocryphal texts as a basis to underscore his father/son dichotomy, and to contest hegemonic dominance. At the same time, he presents a human Jesus who is more akin to the Jesus of certain apocrypha than to official gospels. Antonio Scuderi is Professor of Italian at Truman State University in Missouri, where he founded the Italian programme. His interdisciplinary articles on Italian performance traditions have been published in leading journals of theatre, folklore and literary studies, and in essays for books. He is the author of Dario Fo and Popular Performance (Legas, 1998) and co-editor of Dario Fo: Stage, Text, and Tradition (Southern Illinois UP, 2000). His latest book, Dario Fo: Framing, Festival, and the Folkloric Imagination (Lexington Books, 2011), examines the influence of concepts derived from folk culture, anthropology, and Gramscian Marxism on the development of Fo's theatrical praxis.

8

Mouton Kinyon, Chanté. "Foregrounding (Lost) Rituals in the Irish and Harlem Renaissances: John Millington Synge, Zora Neale Hurston, and the Transatlantic Gesture." Modern Drama 65, no. 4 (December 1, 2022): 499–521. http://dx.doi.org/10.3138/md-65-4-1128.

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In the preface to The Book of American Negro Poetry (1922), James Weldon Johnson argues that “the colored poet in the United States needs to do something like what Synge did for the Irish.” This article considers the theatrical works of Zora Neale Hurston in light of Johnson’s injunction. In their theatres, John Millington Synge and Zora Neale Hurston work to create a breathing archive of Irish and Black American cultures, respectively, using the stage to portray Irish and Black American folk cultures and give spectators the opportunity to see, hear, and experience performative aspects of those traditions. In addition to drafting scripts that attempt to stage Irish and Black American rituals, their emphasis on interpreting the unique rhythms of vernacular spoken traditions and of directly staging collected folk stories offers evidence of this goal. This article focuses on the use of the keen in Riders to the Sea and the use of the cakewalk in Color Struck to highlight how Synge and Hurston locate rituals in their cultural contexts, thereby giving a representation of them that audiences might consider authentic, while also writing against the stereotypes associated with the cultures under discussion.

9

MARCUS, KENNETH H. "Mexican Folk Music and Theater in Early Twentieth-Century Southern California: The Ramona Pageant and the Mexican Players." Journal of the Society for American Music 9, no. 1 (February 2015): 26–60. http://dx.doi.org/10.1017/s1752196314000534.

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AbstractIn an environment of racial tension and conflict in Southern California during the first half of the twentieth century, the Ramona Pageant and the plays by the Padua Hills Mexican Players offered Mexican American performers a vital role in perpetuating cultural memory through music and dance. The Ramona Pageant, which began in Hemet, California in 1923 and is still in operation, remains one of the longest-running pageants, or historical dramas, in U.S. history. Similarly, the Mexican Players were founded during the Great Depression in 1931 in Claremont, California and performed continuously for more than forty years. This article argues that Hispanic musicians achieved a degree of cultural agency in these plays through the performance of Mexican folk music, especially canciones (love songs) and corridos (narrative ballads), which were essential elements in the “soundscape” of the Southwest. Although Anglos created and directed the plays, they did not create or perform the music. In spite of the plays’ largely romanticized portrayals of California's Spanish and Mexican past, they provided some of the few prominent forums in Southern California for Mexican American musicians and dancers during the first half of the twentieth century.

10

Luo, Jun, and Guijun Li. "A Culturalist Interpretation of the Dark Brothers’ Sound Bitterness in Hughes’s I, Too, Sing America." Studies in Linguistics and Literature 2, no. 1 (February 28, 2018): 27. http://dx.doi.org/10.22158/sll.v2n1p27.

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<em>Langston Hughes is an important poet over the Harlem Renaissance who has contributed to the enhancement of the thematic profundity of his poetry in the association of African-American culture rooted in its literature, music, theater, art, and politics with his poetic production. Inspired by the original newness of his great poems, many foreign and Chinese scholars and critics have not only discussed much about his indispensable role in promoting dark brothers’ folk culture on the basis of their valuable explorations among his works but also made a mention of dark brothers’ lower social position as well as their unfair treatment in American society that has been dominated by their counterparts’ culture through the careful combination of his poems with the unbearable experience they have been suffering from. What they haven’t focused on in their respective studies of dark brothers’ discriminated culture is a sound and detailed discussion about the dark brothers’ empirical bitterness in the whole textual spaces of one of their academic essays or monographs in correspondence to one of his poems. To reduce the academic limitations in this respect, this essay will take one of his poems, I, Too, Sing America, as an analytical example to give a culturalist interpretation of the dark brothers’ sound bitterness.</em>

11

Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success." Nineteenth-Century Music Review 3, no. 1 (June 2006): 89–112. http://dx.doi.org/10.1017/s1479409800000367.

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According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as participating in careers in the performing arts. As a result of the problems with the representation of blacks in texted music from the turn of the century, historians have tended to write vocal performance out of the pre-history of jazz, in favour of the purely instrumental ragtime. However, recent research reveals that African-American vocal entertainers did take agency over representations of themselves and over their careers, in a space unencumbered by the problematic history of race relationships in the USA. That space was Europe: beginning in the 1870s, and in increasing numbers until the ‘Great War’, troupes of African-American singers, dancers and comedians travelled to Europe, where they entertained large audiences to great acclaim and gained valuable experience as entrepreneurs, emerging as an important market force in the variety-theatre circuit. Above all, they performed the cakewalk, the late-nineteenth-century dance whose syncopated rhythms and simple form accompanied unnatural, exaggerated dance steps. By introducing Europe to the cakewalk, they prepared audiences for the jazz craze that would sweep through the continent after the war and enabled Europeans to experience the syncopated rhythms and irregular movements whether as dancers or as spectators.

12

Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.

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Bogatyrev, Pyotr. "Czech Puppet Theatre and Russian Folk Theatre." TDR/The Drama Review 43, no. 3 (September 1999): 97–114. http://dx.doi.org/10.1162/105420499760347351.

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This key historical and theoretical document connecting Czech and Russian puppet and folk theatres is translated into English for the first time. Bogatyrev opened a whole new area of semiotic studies.

14

FitzPatrick Dean, Joan. "Irish Stage Censorship in the 1950s." Theatre Survey 42, no. 2 (November 2001): 137–64. http://dx.doi.org/10.1017/s0040557401000072.

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At the end of the 1940s, individuals and groups, as well as the government in Ireland, recognized the need for and benefits of arts enterprises. The Inter-Party coalition, which came to power in early 1948 (under John Costello), recognized the importance of tourism as an industry and the potential of theatre to attract foreign visitors to Ireland. In 1949, the Cultural Relations Committee of Ireland, operating under the auspices of the Minister for External Affairs, undertook production of a series of pamphlets designed “to give a broad, vivid, and informed survey of Irish life and culture.”1 In 1951, the Republic of Ireland established the Arts Council; the first National Fleadh (Festival) for traditional music was held in Mullingar; Liam Miller founded the Dolmen Press; and Comhaltas Ceoltoiri Eireann (Traditional Irish Music Advisory) was established. Even after the 1951 election returned de Valera and Fianna Fáil to power, organizational infrastructures to support the arts continued to appear: the Irish tourist board (Bord Failte) and Gael-Linn (an organization to promote Irish language, literature, and culture) both debuted in 1952. Cork held its first International Choral and Folk Dance Festival and its first International Film Festival in 1953. Some of these developments may have anticipated the imminent inauguration of regular air passenger service to North America, but all responded to cultural opportunities precluded during what Ireland knows as the Emergency and other nations as World War II. These agencies and events all sought to project a positive, progressive image of Ireland. Most important, they all mark a departure from the isolationism that prevailed in Ireland before and during the Emergency and that characterized de Valera's tenure as Taoiseach in the 1930s and 1940s.

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Ashton-Sikora, Martha, and Basavaraj S. Naikar. "The Folk Theatre of North Karnataka." Asian Folklore Studies 57, no. 1 (1998): 179. http://dx.doi.org/10.2307/1179018.

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Nandakumar, Prema, and Basavaraj S. Naikar. "The Folk Theatre of North Karnataka." World Literature Today 71, no. 2 (1997): 470. http://dx.doi.org/10.2307/40153271.

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17

Sizova, Irina Igorevna. "Influence of Tolstoy’s Works on Folk Theatre." Filologičeskie nauki. Voprosy teorii i praktiki, no. 2 (February 2021): 294–306. http://dx.doi.org/10.30853/phil210044.

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18

Pandey, Anjali. "PUPPETRY-THE TRADITIONAL FOLK THEATRE OF INDIA." International Journal of Research -GRANTHAALAYAH 5, no. 1 (January 31, 2017): 355–61. http://dx.doi.org/10.29121/granthaalayah.v5.i1.2017.1908.

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19

Nekrylova, Anna. "The Leningrad puppet theatre and folk tradition." Contemporary Theatre Review 1, no. 1 (November 1992): 19–24. http://dx.doi.org/10.1080/10486809208568242.

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20

Thiederman, Sondra B., and Clarence Meyer. "American Folk Medicine." Western Folklore 45, no. 3 (July 1986): 239. http://dx.doi.org/10.2307/1499447.

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21

Nakienė, Austė. "Shifts in the Traditional Culture. Folksongs in the 21st Century City." Tautosakos darbai 49 (May 22, 2015): 171–92. http://dx.doi.org/10.51554/td.2015.29011.

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The traditional culture existing in the city experienced considerable changes in the course of the last century. Rather than comprising continuous, gradual development, this change involved several radical cultural shifts, taking place in the 20th century (e. g. in the beginning of the century, in the 1960s, and 1990s). The article compares the urban, social and cultural changes in order to determine periods when the traditional culture experienced the most crucial transformations and when various new phenomena appeared. A clear shift in the urban culture took place in the 1960s in Lithuania, when a political “warming” of sorts could be felt and the pressure of the communist ideology was somewhat lighter. The economic growth was followed by the formation of the consumer society (although a rather different one from that emerging in the liberal countries), taking place in Vilnius, Kaunas, and other cities. The 1960s and the subsequent decades were characterized by a considerable variety of the urban culture in Lithuania, especially in its capital city. In the musical sphere, the state-supported academic music, the professionally performed folk music, and the show music were particularly thriving; but performances of jazz, rock and authentic folklore also gained momentum.The Lithuanian Folklore Theater, which started its activity in 1968 in Vilnius, can be presented as a typical example of the altered tradition. Director of this theater Povilas Mataitis and his wife, scenographer Dalia Mataitienė managed to achieve a subtle harmony between the folk tradition and their individual artistic expression, uniting in their performances elements of folklore and the modern art, and using small artistic forms, so typical to the folk art, to create complicate ambivalent compositions. Nevertheless, the stylistic shifts of the 1960s were best reflected in the rock music. The swinging two-part rhythm and open expressions of the individual feelings embodied a radical stylistic change at that time (although such means of expression are completely common and trivial today). Starting from the 1960s these innovations affected not only the urban composers, but also the folksong creators at the countryside.The significant cultural shift took place also after the Lithuanian independence was regained in 1990. The Soviet past was rejected, the Western notion of culture was willingly adopted, and the patterns of cultural life and financing were increasingly altered. The formerly state-supported cultural institutions and performers had to adapt to the free-market. At first, the cultural shift of the 1990s resembled an avalanche: the former unified whole – the coherent image of the national culture created during the Soviet times was shattered. Composers and authors plagued by various difficulties found respite, though, in the new kinds of the available information, the opened possibilities of getting to know the global culture, which had been hitherto almost impossible to gain access to. The epoch of postmodernity, characterized by free associations between various historical and cultural signs, was favorable to the continuation of traditions; therefore various transformations of folklore quickly appeared, musical styles from different periods and nations were abundant, and all sorts of their hybrids were created. A new thing establishing itself on the Vilnius pavement was hip hop – the Afro-American music and life style, born in the suburbs of New York. It was increasingly adopted and furthered by the Vilnius inhabitants, born in the concrete districts of the city, whose youth coincided with the years of the post-Soviet economic “shock-therapy”.The traditional music found its place in the city as well, growing as a moss on a stone. It is now performed both in the great ceremonious halls and in the small, stuffy premises, or simply outside during spring and summer. The city of the 21st century is characterized by such cultural phenomena as urban folklore, bard songs, live music, street music, post-folklore, indigenous culture, Baltic music, pagan art, improvisational music, underground music, etc. Urban tradition is a multifaceted and a multileveled one, its continuation constantly involves connecting different musical styles and respective communities.In the urban environment, the preservation of the folk music is no longer the concern of exclusively the representatives of the folklore movement; authors of different kinds are also involved, including the jazz and rock musicians, visual artists, IT specialists, and actors. Nowadays, the third generation is gradually involved into the urban folklore movement, as its pioneers, having already become grandparents, bring their grandchildren into the same halls and yards of the Old Town, where they used to perform in their youth. At the same time, new cultural wave created by the contemporary young people rises from the underground clubs, multimedia or electronic music labs, and artistic workshops. The young keep always creating something new, but this should not be regarded as a threat to the preservation of the urban folk tradition.

22

Chaturvedi, Ravi. "Interdisciplinarity: A Traditional Aspect of Indian Theatre." Theatre Research International 26, no. 2 (June 15, 2001): 164–71. http://dx.doi.org/10.1017/s0307883301000177.

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After a brief examination of the roots of interdisciplinary elements in classical theatre, the practice of this tradition in selected forms of modern folk and tribal theatre is discussed. The featured example is a prominent folk theatre form belonging to Central India, Pandwāni, which was not widely known even two decades ago, but which, today, has come to the forefront of attention. Increasingly it is attracting performers who work in such metropolises as Delhi, Mumbai and Calcutta, and serves to point out the tradition of interdiscplinarity which has long been a major characteristic of Indian theatre.

23

Fisher, James, Robert Brustein, and Irving Wardle. "Reimagining American Theatre." Theatre Journal 46, no. 3 (October 1994): 437. http://dx.doi.org/10.2307/3208636.

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24

Krasner, David, Lisa M. Anderson, Nadine George-Graves, John Rogers Harris, Barbara Lewis, Henry Miller, and Harvey Young. "African American Theatre." Theatre Survey 47, no. 2 (September 12, 2006): 191–97. http://dx.doi.org/10.1017/s0040557406000159.

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David Krasner: In surveying contemporary London theatre, New York Times critic Ben Brantley reported that the Tricycle Theatre hadinaugurated a season of African-American plays with the commandingly titled but obscure Walk Hard, Talk Loud, a play by Abram Hill from the early1940's. Abram who? The name meant nothing to me, but Abram Hill (1910–1986) was a founder and director of the American Negro Theater in New York (1940–1951) and a playwright, it seems, of considerable verve.3That Abram Hill and the American Negro Theatre—the most important black theatre company during the mid-twentieth century—has flown below the radar is indicative of how much work still needs to be accomplished.

25

Parekh, Pratham, and Mahalaxmi Tiwari. "Folk Theatre as a Mean of Resistance and Social Change: A Sociological Inquiry About Inception and Need for Revitalization of Bhavai." ECS Transactions 107, no. 1 (April 24, 2022): 1933–42. http://dx.doi.org/10.1149/10701.1933ecst.

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Bhavai is a unique folk art theatre of Gujarat that originated in 1360 AD. It is believed to be initiated by ‘outcaste’ nomads. Marginalization made this form of theatre to be more satirized against the stigma imposed by the caste system. Instead of protesting exclusion, this art form provided ground for tenacious, long-lasting, and zestful ways of expressing subjective feelings of the marginalized. The study tries to investigate how folk theatres can become a way of expressing resistance and project desired directions for community development. It also traces periodical changes that occurred since the inception of Bhavai. An attempt is made to find out how recent commercialization diluted the original essence of Bhavai. The study sociologically approaches to understand the deterioration of this folk theatre. This form of theatre has now been reduced to the symbolic identity. Efforts of the state community to retain originality to Bhavai can be deleteriously observed. Address SDG No. 16.

26

Phukon, Pranab, and Satyakam Borthakur. "‘Third Theatre’: A Media Closer to the Folk." Asian Journal of Research in Social Sciences and Humanities 5, no. 2 (2015): 148. http://dx.doi.org/10.5958/2249-7315.2015.00032.5.

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27

Onyenankeya, Kevin, and Abiodun Salawu. "Folk Theatre: a potent vehicle for rural transformation." Journal of Multicultural Discourses 13, no. 4 (October 2, 2018): 348–61. http://dx.doi.org/10.1080/17447143.2019.1566344.

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28

Vandermeer, Philip, and Kip Lornell. "Introducing American Folk Music." Notes 50, no. 3 (March 1994): 991. http://dx.doi.org/10.2307/898573.

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29

Barber, C. Renate. "African American folk healing." Journal of the Royal Anthropological Institute 15, no. 3 (September 2009): 655–56. http://dx.doi.org/10.1111/j.1467-9655.2009.01577_24.x.

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30

Fusco, Gianna. "Queer as American Folk." Comparative American Studies An International Journal 16, no. 3-4 (July 3, 2019): 154–73. http://dx.doi.org/10.1080/14775700.2019.1664104.

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31

Ware, Frederick. "African American Folk Healing." Pneuma 30, no. 2 (2008): 367–68. http://dx.doi.org/10.1163/157007408x346717.

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32

Villegas, Juan. "Historicizing Latin American Theatre." Theatre Journal 41, no. 4 (December 1989): 505. http://dx.doi.org/10.2307/3208011.

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33

Aziz, Amna, Aniqa Rashid, Aqsa Aslam, Iqra Nazish, and Khadija Majeed. "RE (VIEWING) THREE-DIMENSIONAL WORLD OF PAKISTAN’S FOLK THEATRE ARTIST IN SAEED’S FORGOTTEN FACES: A PSYCHOANALYTICAL CRITIQUE." Humanities & Social Sciences Reviews 9, no. 3 (June 1, 2021): 671–78. http://dx.doi.org/10.18510/hssr.2021.9366.

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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.

34

Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.

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Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and political) theatre should be an entertaining theatre. The Norwegian theatre company Hålogaland Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political messages with the revue format, and by such attempted to make a contemporaneous red revue inspired by Norwegian Workers’ Theatre (Tramgjengere) in the 1930s. Hålogaland Teater and Tramteatret termed themselves as both ‘popular’ and ‘political’, but what was the reasoning behind their aesthetic choices? In this article I will look closer at Hålogaland Teater’s folk comedy, Det er her æ høre tel (This is where I belong) from 1973, together with Tramteatret’s performance, Deep Sea Thriller, to compare how they utilized ideas of socialist populism, popular culture, and folk in their productions. When looking into the polemics around political aesthetics in the late 1960s and the 1970s, especially lead by the Frankfurter School, there is a distinct criticism of popular culture. How did the theatre group’s definitions of popular culture correspond with the Frankfurter School’s criticism?

35

Deswal, Neerja. "Indian Folk Theatre : History and Relevance of its Revival." Journal of National Development 31, no. 1 (July 1, 2018): 173–78. http://dx.doi.org/10.29070/31/57450.

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36

Rosa, Marco Camarotti. "Animation, Affirmation, Anarchy: Folk Performance in Brazil." New Theatre Quarterly 14, no. 54 (May 1998): 159–81. http://dx.doi.org/10.1017/s0266464x00011982.

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The folk theatre of North-Eastern Brazil has been given scant critical attention in the past. Even within Brazil itself attention has been largely concentrated in the writings of folklorists, musicologists, and those interested in popular dance. Marco Camarotti Rosa's article is the first attempt to provide comprehensive coverage of the activity as theatre. In describing the four major forms, with some reference to the proliferation of deviations from the norm which are bound to occur when performance is rooted in the oral rather than literary tradition, the article draws attention away from a futile search for historic precedents and stages of development in favour of viewing the performances as they are now, and considering the part they play in the hard-working lives of the communities of North-Eastern Brazil. Marco Camarotti Rosa is a Lecturer in the Department of Theory of Art and Artistic Expression in the Federal University of Pernambuco (UFPE).

37

HAENNI, SABINE. "‘A Community of Consumers’: Legitimate Hybridity, German American Theatre, and the American Public." Theatre Research International 28, no. 3 (October 2003): 267–88. http://dx.doi.org/10.1017/s0307883303001135.

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German American theatre in late nineteenth- and early twentieth-century New York City became a model for both a national American theatre and other diasporic theatres in the US. This theatre aspired to an autonomous, class-free, universal culture, which was seen as the legacy of a German Enlightenment tradition epitomized by Schiller's national(izing) theatre. German Americans were thus exceptionally positioned to claim the ideology of a universal culture as a national characteristic. At the same time, however, the theatre was structured by market demands and the need to appeal to a diverse German American constituency. This oscillation between idealistic and commercial culture made the German American theatre attractive. In the end, the theatre not only helped legitimize New York City's cultural periphery, but became a model when a new American ‘national’ culture, the national theatre, was being imagined, which ultimately illustrates the importance of the concept of legitimacy for hybrid public cultures.

38

Wilson, James L. "Clementine Hunter: American Folk Artist." Woman's Art Journal 15, no. 1 (1994): 54. http://dx.doi.org/10.2307/1358506.

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39

Zaslavsky, Claudia. "Symmetry In American Folk Art." Arithmetic Teacher 38, no. 1 (September 1990): 6–12. http://dx.doi.org/10.5951/at.38.1.0006.

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Symmetrical designs and repeated patterns are important elements in the arts of many cultures—in fabrics, masks, pottery, and wood carvings, to mention just a few examples (Appleton 1971; Chatley 1986; Harris 1987; Krause 1983; Larsen and Gull 1977; Zaslavsky 1973, 1979, 1981, 1987). Many examples can be found in the textile arts alone. Symmetrical patterns in quilts and rugs, the subject of this article, often have symbolic meaning and play a role similar to writing in conveying ideas. The artist, who is usually anonymous, may introduce variations on the traditional themes or may boldly create new designs.

40

Watts, Sarah H., and Patricia Shehan Campbell. "American Folk Songs for Children." Journal of Research in Music Education 56, no. 3 (October 2008): 238–54. http://dx.doi.org/10.1177/0022429408327176.

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American composer Ruth Crawford Seeger grew into the role of music educator as a consummate musician with a deep interest in connecting children to their American musical heritage. This article examines the contributions of Ruth Crawford Seeger to American music education, principally through examination of primary and secondary sources and review of her published works. While historical in some of its methodological procedures, it is even more so a biographical study of a composer who was consumed with a passion to preserve and transmit American heritage music to children. Her life in music as pianist, music intellectual, and composer notwithstanding, this research draws attention to her work in the selection, transcription, and placement of songs from the vast collections of the Lomax family into published works for use with children in schools. The authors examine the legacy of Ruth Crawford Seeger as an educator, with particular emphasis on the manner in which music of the people was masterfully transcribed from recordings and prepared for children and their teachers in schools and preschools.

41

Mullen, Patrick B. "Belief and the American Folk." Journal of American Folklore 113, no. 448 (2000): 119. http://dx.doi.org/10.2307/541285.

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42

Howell, Joyce Bernstein. "Encyclopedia of American Folk Art." Journal of American Culture 27, no. 4 (December 2004): 442–43. http://dx.doi.org/10.1111/j.1542-734x.2004.148_12.x.

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43

Walker, Ethel Pitts. "Incorporating African-American Theatre into the Basic Theatre Course." Theatre Topics 2, no. 2 (1992): 99–104. http://dx.doi.org/10.1353/tt.2010.0062.

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44

Adelt, Ulrich. "Folk City: New York and the American Folk Music Revival." Journal of American History 104, no. 1 (June 2017): 243–44. http://dx.doi.org/10.1093/jahist/jax104.

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45

Aune, Vigdis. "Our Lady’s Folk: Creating authoritative aesthetic communication in documentary theatre." Applied Theatre Research 5, no. 3 (September 1, 2017): 239–53. http://dx.doi.org/10.1386/atr.5.3.239_1.

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46

Kardhares, Dhionysios, and Elias S. Demas. "Dance, Music, and Song in Heptanese Folk Theatre: The ZakynthianHomilia." Dance Chronicle 26, no. 3 (January 10, 2003): 311–31. http://dx.doi.org/10.1081/dnc-120025268.

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47

Riis, Thomas, and Gerald Bordman. "American Musical Theatre: A Chronicle." Notes 50, no. 3 (March 1994): 985. http://dx.doi.org/10.2307/898570.

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48

Clum, John M., Don B. Wilmeth, and Tice Miller. "Cambridge Guide to American Theatre." American Literature 66, no. 2 (June 1994): 412. http://dx.doi.org/10.2307/2928023.

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49

Hornby, Richard. "Crisis in the American Theatre." Hudson Review 51, no. 1 (1998): 171. http://dx.doi.org/10.2307/3853158.

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50

Manna, Anthony L. "Milestones in American Children's Theatre." Children's Literature Association Quarterly 17, no. 4 (1992): 39–41. http://dx.doi.org/10.1353/chq.0.1014.

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