folk drama

folk drama,

noncommercial, generally rural theater and pageantry based on folk traditions and local history. This form of drama, common throughout the world, declined in popularity in the West (although not in Asia) with the advent of printing, general literacy, and the increasing emphasis on the individual contribution to the drama of playwright, director, and actors. The mid-19th cent. witnessed a revival of folk drama in the United States and parts of Western Europe. Some of the major figures responsible for this resurgent interest were the Americans Percy McKaye and Paul Green, the Englishman Louis N. Parker, and the French actor-manager and poet Maurice Pottecher. American universities, including North Dakota Agricultural College (now North Dakota State Univ.) and the universities of North Carolina and Wisconsin, sponsored much experimental work in producing regional history plays. One yearly drama presented outside the university environment is the Trail of Tears history play performed by Native North Americans of Cherokee, N.C.
References in periodicals archive ?
The Hahoe Village is famous for the traditional mask dance, a form of folk drama.
Oganova's monograph and researches upon the history of folk drama made by I.
His first collection of stories was "Arkhas Layali" (The Cheapest Nights), which was followed by "A Lays Kazalek" (Isn't That So) and the three-essay-format series called "Towards a New Arabic Theater" that features aspects of traditional folk drama and shadow theater, according to an article by Britannica Encyclopedia.
Eddie Cass, who died in September 2014, was a member of the Editorial Board of Folk Music Journal whose expertise in the field of folk drama and custom will be sorely missed.
The tale of Scrooge - his haunting by three ghosts of Christmas and his redemptive transformation - has become a kind of English folk drama and as such can be reinterpreted in many ways, including the 21st century setting it is given in this new dramatisation by Alex Watkins for the Huddersfield Thespians.
Brown draws on recent work by Michael Newton on Gaelic folk drama and by Bill Findlay and David Bradby on the Latin plays and translations of George Buchanan (1506-1582) to adumbrate the diversity of what may be considered 'Scottish theatre'.
Michael Newton in his splendid chapter on Gaelic-language folk drama in The Edinburgh Companion to Scottish Drama has reminded us, however, that such a view would in the first instance have to discount the lively and long history of folk drama in Gaelic (Newton 2011).
While leading workshops in North Dakota, Koch grew interested in the folk drama, and he devoted much of his work in the classroom and on the stage to encouraging students to dramatically portray the native elements of their lives and respective regions in order to fully represent the American experience.
They performed their traditional dances interspersed with a performance using rappers - flexible swords with a handle on each end - and a Mummers Play, which is customarily a short, costumed folk drama based around old tales of death and resurrection.
The garish costumes, music, dance, the eye-popping visuals forming the spectacle, and convoluted story lines originate from the folk drama tradition that was so popular prior to World War II.
From folk drama to more formalized presentations, these plays engage their respective audiences and encourage both imaginative and physical interaction in the symbolic world they engender.