engleski

Theatrical interpretation of ritual or ritual on stage

The concept of theatrical application of folklore known in Croatian academic circles as the Zagreb School of Folklore (Sremac 2009:97) primarily emphasises that folklore choreographies must match the original models from which they developed. It allows choreographers to use various geometrical patterns, but with the recommendation that the dance steps resemble as much as possible those found in situ in terms of structure and stylistic performance. That approach is what differentiates the Zagreb School of Folklore, on which the choreographies I shall be discussing are based, from the theatrical application of folklore in Macedonia, discussed on the example of the Tanec national ensemble. The choreographies of the Lado ensemble have always been considered to resemble closely the in situ performances, while the other two professional ensembles of the former Yugoslavia, Kolo and Tanec, were characterised by high stylisation following the Russian approach to the theatrical application of folklore. Using the examples of carnival ritual ceremonies on the island of Lastovo and in the region of Kastavština, I aim to show how ritual is necessarily interpreted on stage. I shall be comparing two choreographies of the Lado national ensemble that are considered to be excellent theatrical performances and have been on the repertoire for more than thirty years, with the local ritual ceremonies that they represent. Furthermore, I shall be considering original folklore groups that choose the middle path between their authentic ritual ceremonies and the long-standing theatrical representations on stage authored by professionals. It is in the theatrical interpretations of local folklore groups that the impact of professionals becomes most obvious and in the long term influences the rituals in situ.

Lado, professional dancer, folklore choreographies, dance, Lastovo carnival

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