Muzica în teatrul popular românesc:
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| Main Author: | |
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| Format: | Book |
| Language: | Romanian |
| Published: |
Bucureşti
Ed. Etnologică
2005
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| Online Access: | Inhaltsverzeichnis Abstract |
| Item Description: | Zsfassung in engl. Sprache u.d.T.: Music in Romanian popular drama |
| Physical Description: | 132 S. Notenbeisp. |
| ISBN: | 9738661676 |
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SUMAR
Argument
Teatrul popular cu subiecte religioase. Irozii sau Viflaimul
Teatrul religios în Europa
Originea teatrului Irozilor. Opinii şi controverse
în publicistica românească
Text şi personaje
Actanţii
Denumirea obiceiului
Perioada de performare
Costumaţie şi recuzită
Modalităţi de învăţare şi transmitere
Funcţii
Repertoriu muzical
Delimitări şi confluenţe zonale
Repertoriu muzical-constante şi variabile
Relaţia text dramatic-repertoriu muzical
Repertoriul muzical al teatrului Irozilor în raport cu obiceiul Stelei
Teatrul de păpuşi
Origini şi influenţe
Personaje
Text
Actanţi şi modalităţi de transmitere şi învăţare
Decor şi recuzită
Tipologie şi evoluţie
Repertoriu muzical
Teatrul popular cu subiecte laice. Teatrul haiducesc
Text şi personaje
Costumaţie şi recuzită
Actanţii. Modalităţi de învăţare şi transmitere
Perioada de performare. Funcţii
Repertoriu muzical
Anul nou şi Anul vechi
Cântecele Jianului:
Romanţa
Cântecul social
Cântecul propriu-zis
Cântecul convenţional
Cântecul patriotic
Constante şi variabile
Dramatizări folclorice
Piese cu subiecte din istoria românilor
Teatru inspirat de personalităţi istorice
Teatru inspirat de evenimente istorice
Mocănaşii
Teatru popular între livresc şi oral
Rezumat în limba engleză
Bibliografie
MUSIC IN ROMANIAN POPULAR DRAMA
The Romanian popular drama has been approached by a considerable number of
researchers who tried to decipher the origins, the spreading and the characteristics of
the dramatic art. The volume
in Romania) meant a moment of synthesis in the Romanian theatre historiography,
after T. T. Burada's and
century, some other studies dealt with either religious popular plays,
Herodes),
(during the last decades). All authors mentioned the existence of music during the
popular show, but the ethnomusicological research has not covered this segment. If
the repertoire of
the
not possess investigations focused on the particularities of the popular drama. The
material published and especially the material stored in the Archive of the Institute of
Ethnography and Folklore
point for an analysis of musical repertoire focused on its characteristics and configu¬
ration, an analysis not only
Our approach considers all the segments of the Romanian popular drama: reli¬
gious, puppet shows, secular subjects -about outlaws and the folkloric dramatization.
This research follows several aspects: the origin of the plays arid the
the sources, the performance period, data concerning the performers and the ways in
which they learn, as well as functions, properties and costumes. In the same time, this
study is focused on defining the repertoires' configuration, the constant and changeable
values, the text-music relation, typologies and geographical spreading of the musical
categories. We have tried to draw the image of the popular drama as real as possible
and to emphasize the dependence of the performers on the repertoire.
Religious Drama
The religious drama is known under different names, according to the historical
regions in Romania:
Maramureş,
1
120_
Oltenia.
The texts of
three types: the version in
Moldavia, with many variants and one more episode, the one of Herod's dream,
belonging to Burada, E.
Transilvania,
longer one and a simplified one.
In the 20th century not all the motifs appear in the performance. In
Oltenia,
question them about their presence in Judaic territory, the kings introduce themselves
and talk to Herod who threatens to kill all the newly born children, the Magi curse
Herod, but he apologizes for his behaviour and wants to know the place where Jesus
was born, to go there and worship Him.
In Transylvania there is more than one Variant. The first one is similar to the above
mentioned and adds the shepherds' dream and the dialogue with the angel, the second
one reverses the order of the two parts, and the third is an abridged variant of P.
play, which can be found in
representations offer two important categories of characters: the first includes Herod
and the three Magi, while the second is represented by the shepherds and the angel.
There may accidentally appear Herod's officer and the priest who is asked by Herod
about the prophecies connected with Jesus' birth.
The
performers were psalm readers and deacons. The 20th century collections show a
certain stability of the performers' age,
house playing
The transmission channels are not exclusively the traditional, oral ones. When
talking about the text, the most important source is „the book", the variants which are
finished, printed and transmitted. The written document remains an abstract reality
unless there is somebody who could perform it. Those who know how to stage it are
the priests and the primary school teachers. The musical part does not encounter the
same disadvantages; the star carols
combination between the dramatic performance and the star carols offers a unitary
structure which borrows particular elements (dances and congratulatory words either
belonging to the texts of the star carols or recited at the end of the performance) from
the Christmas carol singing.
Whereas the ecclesiastic beginnings of the religious drama had didactic, informa¬
tional and Christian propaganda functions, its performance nowadays fulfills spec¬
tacular and entertainment purposes.
Unlike other categories of popular drama,
Muzica în teatrul popular românesc
musical
collected (until today but with a gap between
of the Institute of Ethnography and Folklore. Most of them were gathered from
Transylvania and
and
level of star carols which have variants similar to all areas.
Moldova has a standard repertoire:
împărate". Muntenia and Oltenia
nalte", „Cana
is
hand and a particular one (in
the standard repertoire, there can be found the hymn
for introducing the three Magi, „Balthazar
worship,
cultural asset frequently performed in the extra Carpathian area, in Transylvania it
appears only in
Although the musical repertoire varies from one region to another, we have catego¬
rized the star carols according to their frequency: A: the most frequent pieces:
ta,
împărate"; B:
cele nalte", „O, Doamne, împărate sfinte", „Prezentarea magilor",- and C:
cific
The star carols which have only one musical type are rather few:
minunată",
carols display different melodic types even those which are specific for a certain
region. It is the case of the song
Transylvania but has a different musical type for each sub-region. Some texts and not
few can be performed on the melody of other star carols. Yet, it seems that in some
regions (such as Transylvania), some melodic types are used for different texts. This
phenomenon is noticed by
a unui cântec de stea
In comparison with the text which has a standard form with interchangeable
episodes, the music of the star carols has a dynamic, flexible, and open structure,
representative for certain moments of the dramatic progress. „O, Iroade,
sung when Herod appears,
Three Magi, and
The final part of our research is a comparative analysis, trying to find out whether
there are certain star carols especially created for the popular drama,
research of the star carols card index, in the Archive of the Institute of Ethnography
122_
and Folklore, led uš
which are exclusively interpreted by the
împărate", „Prezentarea magilor"
The Puppet Show
Also known as
of the Romanian dramatic genre. At the end of the
of
those times (the Yoghourt Maker, the Priest, the Turk, the Cossack, etc.). The unusual
association of the religious drama with the puppet show fitted the need of the laic
element to be supported by the religious element. Although its vitality decreased during
the 20th century, one can not deny that the puppet show had its glorious moment and
represented an important phase in the evolution of the popular drama.
This kind of theatre is part of the European family of puppet shows, of those forms
of mediaeval religious theatre which appeared in the Romanian area as a consequence
of German influence in Transylvania, of Polish
southern part of Romania the most probable influence is that of the Turkish farce
Karagos.
According to most of the researchers, Romanian puppet show is a synthesis of
some common characteristics which overlapped the autochthonous forms. G. Dem.
Teodorescu, D.
tion, and texts which constituted a database helpful for reconstructing the puppet
show performance in late
a wooden-trunk which represented Herod's palace and the characters were a Russian,
a Turk, a Bulgarian, a Yoghurt Maker, etc.
When the ethnic types of the
ing them and published by Vulpescu and Burada (who do not offer us any information
concerning the variants performed in the rural area) disappeared and latter attempts to
identify variants of the published texts failed. After the 4th decade of the 20th century,
puppet shows are recorded in villages in
the plays fluctuates, it is either
The more recent research shows a certain tendency in presenting the moments of the
conjugal conflicts, in which participate the Bride, the Groom and the Lover. The plot is
simple: the lover is beheaded by the gelous husband, the doctor places back his head
and the Pope officiates the funeral. There are also more extensive variants in which
other characters appear-
The musical repertoire in the volumes published by Vulpescu and Burada is ex-
Muzica în teatrul popular românesc
tremely
and were gathered in different periods. Thus, one can question the authenticity of the
puppet show variants published by these two authors. The diversity of the informants
imposes certain reserves upon the existence of all the productions in one play, especially
because their number is considerable. These songs are meant to identify the characters
(the Turk, the Russian, the Gypsy, etc.) using both the texts and the musical structure.
The text imitates the particularities of the native language of the characters while the
musical level uses some standard melodic formulae which function as matrixes of
identification even in the absence of the text (such as the augmented second for the
Turk). The author(s) of these songs synthesized those melodic configurations which
can precisely indicate the ethnical origin of the characters. In each situation (the Turk,
the Russian, the Jew) the musical segment is not characteristic for the Romanian
folklore. The presence of these specific melodic formulae and the combination of
these elements give these songs
also results from the alternation of the productions analysed with the songs in the
regional repertoire.
The 20th century collections show a different musical reality: two categories of
musical repertoires
melodies). There are also plays which combine the two repertoires, such as
recorded in Bucharest by H.
pricină minunată",
two Romanian folk dances
„Cana
played antiphonally. The pieces which have instrumental repertoire are not performed
together with
the musical pieces is decreasing, one or two dance melodies. In
ends with a dance suite played on the scale, drum with cymbal and violin.
Drama of Outlawry
Drama of outlawry appeared and developed during the last decades of the 19th
century as a manifestation characteristic for Moldavia. The plays are named according
to the main character: „Jianu",
outlaws such as Jianu or
fied as those who do justice for the oppressed, the outlaws deeply influenced the
popular imagination, thus appearing and flourishing the ballad of outlawry." (H. B.
Oprişan,
In the group of the ballads of outlawry one can distinguish the more recent ones,
124_
about
source for the popular drama but the theatre play written by M.
Jian, căpitan de hoţi, dramă cu cântece naţionale în patru acte şi opt tablouri
(Jian,
eight scenes
by Gh. Nadoleanu emphasized the identity of the main moments of the plot.
The date when the play was first staged is not known, but it seems that it was
played before
For about
The subject of the two forms (the'authors' one and the popular one) is similar:
Jianu is caught by the posse and is released by different means. The number of the
characters differs from one region to another. This type had a great success, influencing
the appearance of other plays about outlaws and thieves:
(tributary to
son of Novac. The
The
sentimental songs, social songs,
and patriotic songs. The play Jianu has more musical elements than other popular
productions, such as the puppet show and Viflaim. Thus, one can notice the evolution
of the way the role of music in a popular theatre play is perceived. The variety of the
categories is caused by the desire to emphasize the key moments of the plot. The
diversity of the musical categories in Jianu represents the important step taken by the
drama of outlawry in the evolution of the popular theatre. Thus, the heterogeneous
and fluctuating features should not be considered in a disparaging way.
The structure of the play Jianu is in most of the variants two folded because of the
prologue
more recent form of an ancient fertility
and winter, the New Year killing the Old Year." (loan,
of the songs performed in this episode offer the image of the New Year as a handsome
and rich young man who promises prosperity. These types of songs have been classified
in three categories, according to their themes: songs for announcing the New Year,
Iată Anul Nou,
and songs in which the New Year introduces himself,
examples belong to the category of conventional songs. The musical item
bucurie,
the melody of
Certain moments in the plot of the play Jianu require certain musical categories,
e.g. the invocation of Jianu's mother introduces the sentimental song.
An important musical category used in the repertoire of outlawry is the social
Muzica în teatrul
song. Considered a town creation, appeared in
melody which became popular in Moldavia, known as
this song are performed in the drama of outlawry with the text
Vai de noi ce-am mai
this is the context in which it plenary manifests itself and maybe in which it was so
widely spread.
Together with the social song, the lyrical song is another representative category
for the play
large ambitus, completion refrains
architectonic forms.
Keeping the characteristics of the popular song, the conventional song has a
significant frequency. These musical types have the melodic forms and architectonical
structures of the vaudeville compositions at the end of the 19th century, for example
the music for
a melodic
segments. The sonorous system tends to be tonal and the rhythm is measured.
It may seem unlikely, but the musical repertoire of this segment also contains
patriotic songs not as a quoted passage (like in the case of
prologue about the New Year and the Old Year, or in that of Kiriac's
play
In the process of creating the Romanian patriotic songs there were moments when
their melody intersected the popular pattern. This may be the explanation for the
migration of some melodic segments. We are referring here to the song
români,
tions belonging to the plays about the outlaws. Very frequently appears the song
sunt căpitanul,
patriotic song,
written by Bolintineanu and known as
said that the music was „arranged by Gavril Musicescu." (M.
This melodic type can be found in the songs of the plays about the outlaws, where four
melodic lines are added to the initial form, thus indicating a military signal.
Although the musical repertoire of the drama of outlawry is varied and heteroge¬
neous there are certain favourite melodies. The following ones are some of the most
frequent: the social song
lapte and Măi stejar pletos şi verde,
conventional song
forms concordant with the norms of the collective taste dependant on the patterns of the
historical moment when this musical repertoire appeared.
126_
Folkloric
The end of the
moment in the evolution of the dramatic genre in Moldavia. The cultural context was
influenced by the activity of the students in pedagogical schools and ecclesiastical
seminaries who promoted this type of entertainment. Along with the plays about the
outlaws, which were widely spread, another category of popular plays on different
themes appeared, such as
„Brâncoveanu", „Ştefan cel Mare"
„Osman's Surrender",
Peace" (the First World War).
The popular dramatic repertoire enriched with new subjects and characters taken
by its promoters from written sources (Alecsandri's poems) and from the popular
ballads
These forms of popular drama are characterized by limited regional occurrence
and sporadic performance.
Generală"
the western part of
The musical repertoire is extremely varied. Except for the play
which is performed during Christmas carolling in Bucovina and ends with
(Three Shepherds), the star carols do not appear in other popular productions, the
rest of the plays having more or less complex repertoires.
a dramatic show performed by the carolers presents a wedding coloured by the
classic conflict
the Drunkard, the Priest, the Doctor, the Jester. The show includes a musical repertoire
usually performed at weddings.
The plays inspired by the independence war dwell on
of Plevna) and
tion sources
play
The variant in the Archive of the Institute of Ethnography and Folklore, col Iected in
Bacău
compiles some folkloric poems created after the independence war and published by
T. Pamfile in the volume
musical point of view, its melodic type is similar to the one published by Gh. Ciobanu in
his study
urban creations about the independence war). The researcher states that „it can
be found in the Archive of the magazine
The second vocal piece has an uncertain origin. Its text is Alecsandri's poem Penes
Muzica în teatrul
Curcanul
militant songs. The beginning has certain filiations with Marsilieza, followed by a
variant of the first section of the song
brothers) and the end is similar to that of the song
national anthem).
The third vocal piece is a modern lyrical song with two melodically different re¬
frains. The final song is somewhat surprisingly a variant of the melody
mititei
The source of the play
who lost his flock. The variants collected by
being „a combination of songs and sayings, some of them taken from
from an
Archive is not similar to the story of the lost flock but rather a compilation of short
dialogues and songs. Their number is impressive,
some of them not having a popular pattern. The lyrical song appear together with the
social song
Banu
toire also contains a song interpreted in solo-text, choir-refrain alternation with a me¬
lodic line characteristic for music performed on stage. The relation between the choir
and the soloist is used in this play, fact proved by the song
whose refrains are interpreted by the choir, while the soloist sings the couplet.
The analysis of the Romanian popular drama should emphasize the unstable aspect
of the puppet shows and of those inspired by historical events and characters. It is
also necessary to underline the pre-eminence of the
in the oral circuit. The musical repertoire is totally different: the religious drama has a
homogeneous and stable repertoire at the level of musical categories. The musical
repertoire of the plays about outlaws is situated on the opposite side because it was
created under the influence of many cultural milieus (urban, rural, and military). The
borders of different cultural segments (such as the urban and rural areas) tend to
disappear because „the artistic and cultural folkloric monopoly does not exclusively
belong to the folkloric contexts." (R. Niculescu,
Translated by |
| adam_txt |
SUMAR
Argument
Teatrul popular cu subiecte religioase. Irozii sau Viflaimul
Teatrul religios în Europa
Originea teatrului Irozilor. Opinii şi controverse
în publicistica românească
Text şi personaje
Actanţii
Denumirea obiceiului
Perioada de performare
Costumaţie şi recuzită
Modalităţi de învăţare şi transmitere
Funcţii
Repertoriu muzical
Delimitări şi confluenţe zonale
Repertoriu muzical-constante şi variabile
Relaţia text dramatic-repertoriu muzical
Repertoriul muzical al teatrului Irozilor în raport cu obiceiul Stelei
Teatrul de păpuşi
Origini şi influenţe
Personaje
Text
Actanţi şi modalităţi de transmitere şi învăţare
Decor şi recuzită
Tipologie şi evoluţie
Repertoriu muzical
Teatrul popular cu subiecte laice. Teatrul haiducesc
Text şi personaje
Costumaţie şi recuzită
Actanţii. Modalităţi de învăţare şi transmitere
Perioada de performare. Funcţii
Repertoriu muzical
Anul nou şi Anul vechi
Cântecele Jianului:
Romanţa
Cântecul social
Cântecul propriu-zis
Cântecul convenţional
Cântecul patriotic
Constante şi variabile
Dramatizări folclorice
Piese cu subiecte din istoria românilor
Teatru inspirat de personalităţi istorice
Teatru inspirat de evenimente istorice
Mocănaşii
Teatru popular între livresc şi oral
Rezumat în limba engleză
Bibliografie
MUSIC IN ROMANIAN POPULAR DRAMA
The Romanian popular drama has been approached by a considerable number of
researchers who tried to decipher the origins, the spreading and the characteristics of
the dramatic art. The volume
in Romania) meant a moment of synthesis in the Romanian theatre historiography,
after T. T. Burada's and
century, some other studies dealt with either religious popular plays,
Herodes),
(during the last decades). All authors mentioned the existence of music during the
popular show, but the ethnomusicological research has not covered this segment. If
the repertoire of
the
not possess investigations focused on the particularities of the popular drama. The
material published and especially the material stored in the Archive of the Institute of
Ethnography and Folklore
point for an analysis of musical repertoire focused on its characteristics and configu¬
ration, an analysis not only
Our approach considers all the segments of the Romanian popular drama: reli¬
gious, puppet shows, secular subjects -about outlaws and the folkloric dramatization.
This research follows several aspects: the origin of the plays arid the
the sources, the performance period, data concerning the performers and the ways in
which they learn, as well as functions, properties and costumes. In the same time, this
study is focused on defining the repertoires' configuration, the constant and changeable
values, the text-music relation, typologies and geographical spreading of the musical
categories. We have tried to draw the image of the popular drama as real as possible
and to emphasize the dependence of the performers on the repertoire.
Religious Drama
The religious drama is known under different names, according to the historical
regions in Romania:
Maramureş,
1
120_
Oltenia.
The texts of
three types: the version in
Moldavia, with many variants and one more episode, the one of Herod's dream,
belonging to Burada, E.
Transilvania,
longer one and a simplified one.
In the 20th century not all the motifs appear in the performance. In
Oltenia,
question them about their presence in Judaic territory, the kings introduce themselves
and talk to Herod who threatens to kill all the newly born children, the Magi curse
Herod, but he apologizes for his behaviour and wants to know the place where Jesus
was born, to go there and worship Him.
In Transylvania there is more than one Variant. The first one is similar to the above
mentioned and adds the shepherds' dream and the dialogue with the angel, the second
one reverses the order of the two parts, and the third is an abridged variant of P.
play, which can be found in
representations offer two important categories of characters: the first includes Herod
and the three Magi, while the second is represented by the shepherds and the angel.
There may accidentally appear Herod's officer and the priest who is asked by Herod
about the prophecies connected with Jesus' birth.
The
performers were psalm readers and deacons. The 20th century collections show a
certain stability of the performers' age,
house playing
The transmission channels are not exclusively the traditional, oral ones. When
talking about the text, the most important source is „the book", the variants which are
finished, printed and transmitted. The written document remains an abstract reality
unless there is somebody who could perform it. Those who know how to stage it are
the priests and the primary school teachers. The musical part does not encounter the
same disadvantages; the star carols
combination between the dramatic performance and the star carols offers a unitary
structure which borrows particular elements (dances and congratulatory words either
belonging to the texts of the star carols or recited at the end of the performance) from
the Christmas carol singing.
Whereas the ecclesiastic beginnings of the religious drama had didactic, informa¬
tional and Christian propaganda functions, its performance nowadays fulfills spec¬
tacular and entertainment purposes.
Unlike other categories of popular drama,
Muzica în teatrul popular românesc
musical
collected (until today but with a gap between
of the Institute of Ethnography and Folklore. Most of them were gathered from
Transylvania and
and
level of star carols which have variants similar to all areas.
Moldova has a standard repertoire:
împărate". Muntenia and Oltenia
nalte", „Cana
is
hand and a particular one (in
the standard repertoire, there can be found the hymn
for introducing the three Magi, „Balthazar
worship,
cultural asset frequently performed in the extra Carpathian area, in Transylvania it
appears only in
Although the musical repertoire varies from one region to another, we have catego¬
rized the star carols according to their frequency: A: the most frequent pieces:
ta,
împărate"; B:
cele nalte", „O, Doamne, împărate sfinte", „Prezentarea magilor",- and C:
cific
The star carols which have only one musical type are rather few:
minunată",
carols display different melodic types even those which are specific for a certain
region. It is the case of the song
Transylvania but has a different musical type for each sub-region. Some texts and not
few can be performed on the melody of other star carols. Yet, it seems that in some
regions (such as Transylvania), some melodic types are used for different texts. This
phenomenon is noticed by
a unui cântec de stea
In comparison with the text which has a standard form with interchangeable
episodes, the music of the star carols has a dynamic, flexible, and open structure,
representative for certain moments of the dramatic progress. „O, Iroade,
sung when Herod appears,
Three Magi, and
The final part of our research is a comparative analysis, trying to find out whether
there are certain star carols especially created for the popular drama,
research of the star carols card index, in the Archive of the Institute of Ethnography
122_
and Folklore, led uš
which are exclusively interpreted by the
împărate", „Prezentarea magilor"
The Puppet Show
Also known as
of the Romanian dramatic genre. At the end of the
of
those times (the Yoghourt Maker, the Priest, the Turk, the Cossack, etc.). The unusual
association of the religious drama with the puppet show fitted the need of the laic
element to be supported by the religious element. Although its vitality decreased during
the 20th century, one can not deny that the puppet show had its glorious moment and
represented an important phase in the evolution of the popular drama.
This kind of theatre is part of the European family of puppet shows, of those forms
of mediaeval religious theatre which appeared in the Romanian area as a consequence
of German influence in Transylvania, of Polish
southern part of Romania the most probable influence is that of the Turkish farce
Karagos.
According to most of the researchers, Romanian puppet show is a synthesis of
some common characteristics which overlapped the autochthonous forms. G. Dem.
Teodorescu, D.
tion, and texts which constituted a database helpful for reconstructing the puppet
show performance in late
a wooden-trunk which represented Herod's palace and the characters were a Russian,
a Turk, a Bulgarian, a Yoghurt Maker, etc.
When the ethnic types of the
ing them and published by Vulpescu and Burada (who do not offer us any information
concerning the variants performed in the rural area) disappeared and latter attempts to
identify variants of the published texts failed. After the 4th decade of the 20th century,
puppet shows are recorded in villages in
the plays fluctuates, it is either
The more recent research shows a certain tendency in presenting the moments of the
conjugal conflicts, in which participate the Bride, the Groom and the Lover. The plot is
simple: the lover is beheaded by the gelous husband, the doctor places back his head
and the Pope officiates the funeral. There are also more extensive variants in which
other characters appear-
The musical repertoire in the volumes published by Vulpescu and Burada is ex-
Muzica în teatrul popular românesc
tremely
and were gathered in different periods. Thus, one can question the authenticity of the
puppet show variants published by these two authors. The diversity of the informants
imposes certain reserves upon the existence of all the productions in one play, especially
because their number is considerable. These songs are meant to identify the characters
(the Turk, the Russian, the Gypsy, etc.) using both the texts and the musical structure.
The text imitates the particularities of the native language of the characters while the
musical level uses some standard melodic formulae which function as matrixes of
identification even in the absence of the text (such as the augmented second for the
Turk). The author(s) of these songs synthesized those melodic configurations which
can precisely indicate the ethnical origin of the characters. In each situation (the Turk,
the Russian, the Jew) the musical segment is not characteristic for the Romanian
folklore. The presence of these specific melodic formulae and the combination of
these elements give these songs
also results from the alternation of the productions analysed with the songs in the
regional repertoire.
The 20th century collections show a different musical reality: two categories of
musical repertoires
melodies). There are also plays which combine the two repertoires, such as
recorded in Bucharest by H.
pricină minunată",
two Romanian folk dances
„Cana
played antiphonally. The pieces which have instrumental repertoire are not performed
together with
the musical pieces is decreasing, one or two dance melodies. In
ends with a dance suite played on the scale, drum with cymbal and violin.
Drama of Outlawry
Drama of outlawry appeared and developed during the last decades of the 19th
century as a manifestation characteristic for Moldavia. The plays are named according
to the main character: „Jianu",
outlaws such as Jianu or
fied as those who do justice for the oppressed, the outlaws deeply influenced the
popular imagination, thus appearing and flourishing the ballad of outlawry." (H. B.
Oprişan,
In the group of the ballads of outlawry one can distinguish the more recent ones,
124_
about
source for the popular drama but the theatre play written by M.
Jian, căpitan de hoţi, dramă cu cântece naţionale în patru acte şi opt tablouri
(Jian,
eight scenes
by Gh. Nadoleanu emphasized the identity of the main moments of the plot.
The date when the play was first staged is not known, but it seems that it was
played before
For about
The subject of the two forms (the'authors' one and the popular one) is similar:
Jianu is caught by the posse and is released by different means. The number of the
characters differs from one region to another. This type had a great success, influencing
the appearance of other plays about outlaws and thieves:
(tributary to
son of Novac. The
The
sentimental songs, social songs,
and patriotic songs. The play Jianu has more musical elements than other popular
productions, such as the puppet show and Viflaim. Thus, one can notice the evolution
of the way the role of music in a popular theatre play is perceived. The variety of the
categories is caused by the desire to emphasize the key moments of the plot. The
diversity of the musical categories in Jianu represents the important step taken by the
drama of outlawry in the evolution of the popular theatre. Thus, the heterogeneous
and fluctuating features should not be considered in a disparaging way.
The structure of the play Jianu is in most of the variants two folded because of the
prologue
more recent form of an ancient fertility
and winter, the New Year killing the Old Year." (loan,
of the songs performed in this episode offer the image of the New Year as a handsome
and rich young man who promises prosperity. These types of songs have been classified
in three categories, according to their themes: songs for announcing the New Year,
Iată Anul Nou,
and songs in which the New Year introduces himself,
examples belong to the category of conventional songs. The musical item
bucurie,
the melody of
Certain moments in the plot of the play Jianu require certain musical categories,
e.g. the invocation of Jianu's mother introduces the sentimental song.
An important musical category used in the repertoire of outlawry is the social
Muzica în teatrul
song. Considered a town creation, appeared in
melody which became popular in Moldavia, known as
this song are performed in the drama of outlawry with the text
Vai de noi ce-am mai
this is the context in which it plenary manifests itself and maybe in which it was so
widely spread.
Together with the social song, the lyrical song is another representative category
for the play
large ambitus, completion refrains
architectonic forms.
Keeping the characteristics of the popular song, the conventional song has a
significant frequency. These musical types have the melodic forms and architectonical
structures of the vaudeville compositions at the end of the 19th century, for example
the music for
a melodic
segments. The sonorous system tends to be tonal and the rhythm is measured.
It may seem unlikely, but the musical repertoire of this segment also contains
patriotic songs not as a quoted passage (like in the case of
prologue about the New Year and the Old Year, or in that of Kiriac's
play
In the process of creating the Romanian patriotic songs there were moments when
their melody intersected the popular pattern. This may be the explanation for the
migration of some melodic segments. We are referring here to the song
români,
tions belonging to the plays about the outlaws. Very frequently appears the song
sunt căpitanul,
patriotic song,
written by Bolintineanu and known as
said that the music was „arranged by Gavril Musicescu." (M.
This melodic type can be found in the songs of the plays about the outlaws, where four
melodic lines are added to the initial form, thus indicating a military signal.
Although the musical repertoire of the drama of outlawry is varied and heteroge¬
neous there are certain favourite melodies. The following ones are some of the most
frequent: the social song
lapte and Măi stejar pletos şi verde,
conventional song
forms concordant with the norms of the collective taste dependant on the patterns of the
historical moment when this musical repertoire appeared.
126_
Folkloric
The end of the
moment in the evolution of the dramatic genre in Moldavia. The cultural context was
influenced by the activity of the students in pedagogical schools and ecclesiastical
seminaries who promoted this type of entertainment. Along with the plays about the
outlaws, which were widely spread, another category of popular plays on different
themes appeared, such as
„Brâncoveanu", „Ştefan cel Mare"
„Osman's Surrender",
Peace" (the First World War).
The popular dramatic repertoire enriched with new subjects and characters taken
by its promoters from written sources (Alecsandri's poems) and from the popular
ballads
These forms of popular drama are characterized by limited regional occurrence
and sporadic performance.
Generală"
the western part of
The musical repertoire is extremely varied. Except for the play
which is performed during Christmas carolling in Bucovina and ends with
(Three Shepherds), the star carols do not appear in other popular productions, the
rest of the plays having more or less complex repertoires.
a dramatic show performed by the carolers presents a wedding coloured by the
classic conflict
the Drunkard, the Priest, the Doctor, the Jester. The show includes a musical repertoire
usually performed at weddings.
The plays inspired by the independence war dwell on
of Plevna) and
tion sources
play
The variant in the Archive of the Institute of Ethnography and Folklore, col Iected in
Bacău
compiles some folkloric poems created after the independence war and published by
T. Pamfile in the volume
musical point of view, its melodic type is similar to the one published by Gh. Ciobanu in
his study
urban creations about the independence war). The researcher states that „it can
be found in the Archive of the magazine
The second vocal piece has an uncertain origin. Its text is Alecsandri's poem Penes
Muzica în teatrul
Curcanul
militant songs. The beginning has certain filiations with Marsilieza, followed by a
variant of the first section of the song
brothers) and the end is similar to that of the song
national anthem).
The third vocal piece is a modern lyrical song with two melodically different re¬
frains. The final song is somewhat surprisingly a variant of the melody
mititei
The source of the play
who lost his flock. The variants collected by
being „a combination of songs and sayings, some of them taken from
from an
Archive is not similar to the story of the lost flock but rather a compilation of short
dialogues and songs. Their number is impressive,
some of them not having a popular pattern. The lyrical song appear together with the
social song
Banu
toire also contains a song interpreted in solo-text, choir-refrain alternation with a me¬
lodic line characteristic for music performed on stage. The relation between the choir
and the soloist is used in this play, fact proved by the song
whose refrains are interpreted by the choir, while the soloist sings the couplet.
The analysis of the Romanian popular drama should emphasize the unstable aspect
of the puppet shows and of those inspired by historical events and characters. It is
also necessary to underline the pre-eminence of the
in the oral circuit. The musical repertoire is totally different: the religious drama has a
homogeneous and stable repertoire at the level of musical categories. The musical
repertoire of the plays about outlaws is situated on the opposite side because it was
created under the influence of many cultural milieus (urban, rural, and military). The
borders of different cultural segments (such as the urban and rural areas) tend to
disappear because „the artistic and cultural folkloric monopoly does not exclusively
belong to the folkloric contexts." (R. Niculescu,
Translated by |
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| author | Nubert Cheţan, Mihaela ca. 20./21. Jh |
| author_GND | (DE-588)112276510X |
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| author_role | aut |
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| building | Verbundindex |
| bvnumber | BV022218629 |
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| era | Geschichte gnd |
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| format | Book |
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| geographic | Rumänien (DE-588)4050939-4 gnd |
| geographic_facet | Rumänien |
| id | DE-604.BV022218629 |
| illustrated | Illustrated |
| index_date | 2024-07-02T16:28:22Z |
| indexdate | 2024-10-12T16:00:35Z |
| institution | BVB |
| isbn | 9738661676 |
| language | Romanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-015429878 |
| oclc_num | 162278902 |
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| physical | 132 S. Notenbeisp. |
| publishDate | 2005 |
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| publisher | Ed. Etnologică |
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| spelling | Nubert Cheţan, Mihaela ca. 20./21. Jh. Verfasser (DE-588)112276510X aut Muzica în teatrul popular românesc Mihaela Nubert Cheţan Bucureşti Ed. Etnologică 2005 132 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: Music in Romanian popular drama Geschichte gnd rswk-swf Begleitung Musik (DE-588)4344715-6 gnd rswk-swf Volkstheater (DE-588)4130623-5 gnd rswk-swf Rumänien (DE-588)4050939-4 gnd rswk-swf Rumänien (DE-588)4050939-4 g Volkstheater (DE-588)4130623-5 s Begleitung Musik (DE-588)4344715-6 s Geschichte z DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015429878&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015429878&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Nubert Cheţan, Mihaela ca. 20./21. Jh Muzica în teatrul popular românesc Begleitung Musik (DE-588)4344715-6 gnd Volkstheater (DE-588)4130623-5 gnd |
| subject_GND | (DE-588)4344715-6 (DE-588)4130623-5 (DE-588)4050939-4 |
| title | Muzica în teatrul popular românesc |
| title_auth | Muzica în teatrul popular românesc |
| title_exact_search | Muzica în teatrul popular românesc |
| title_exact_search_txtP | Muzica în teatrul popular românesc |
| title_full | Muzica în teatrul popular românesc Mihaela Nubert Cheţan |
| title_fullStr | Muzica în teatrul popular românesc Mihaela Nubert Cheţan |
| title_full_unstemmed | Muzica în teatrul popular românesc Mihaela Nubert Cheţan |
| title_short | Muzica în teatrul popular românesc |
| title_sort | muzica in teatrul popular romanesc |
| topic | Begleitung Musik (DE-588)4344715-6 gnd Volkstheater (DE-588)4130623-5 gnd |
| topic_facet | Begleitung Musik Volkstheater Rumänien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015429878&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015429878&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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