Folk-tale : The king and the falcon

1917 ◽  
Vol s12-III (57) ◽  
pp. 77-77
Author(s):  
N. Powlett
Keyword(s):  
Folk Tale

Grimm Legacies

2014 ◽  
Author(s):  
Jack Zipes
Keyword(s):  
Fairy Tales ◽  
Oral Tradition ◽  
Fairy Tale ◽  
Folk Tales ◽  
Brothers Grimm ◽  
Folk Tale ◽  
The World ◽  
History Of ◽  
High Standards ◽  
Wilhelm Grimm

This book explores the legacy of the Brothers Grimm in Europe and North America, from the nineteenth century to the present. The book reveals how the Grimms came to play a pivotal and unusual role in the evolution of Western folklore and in the history of the most significant cultural genre in the world—the fairy tale. Folklorists Jacob and Wilhelm Grimm sought to discover and preserve a rich abundance of stories emanating from an oral tradition, and encouraged friends, colleagues, and strangers to gather and share these tales. As a result, hundreds of thousands of wonderful folk and fairy tales poured into books throughout Europe and have kept coming. The book looks at the transformation of the Grimms' tales into children's literature, the Americanization of the tales, the “Grimm” aspects of contemporary tales, and the tales' utopian impulses. It shows that the Grimms were not the first scholars to turn their attention to folk tales, but were vital in expanding readership and setting the high standards for folk-tale collecting that continue through the current era. The book concludes with a look at contemporary adaptations of the tales and raises questions about authenticity, target audience, and consumerism. The book examines the lasting universal influence of two brothers and their collected tales on today's storytelling world.

SERGEY PROKOFIEV’s PETER AND THE WOLF THROUGH AN INTERMEDIAL LENS

Mousaion ◽  
2015 ◽  
Vol 33 (2) ◽  
pp. 140-154
Author(s):  
Elma De Kock
Keyword(s):  
Research Method ◽  
Theoretical Foundation ◽  
Original Music ◽  
Folk Tale ◽  
Sergey Prokofiev ◽  
Poetic Text ◽  
Practice Based Research ◽  
The Media ◽  
Artistic Product

Peter and the wolf is an intermedial work based on a folk tale originally written and composed by the Russian composer Sergey Prokofiev in 1936 (Hanson and Hanson 1964). Since few recent adaptations of the work in Afrikaans exist, a combined intermedial project was undertaken to recreate the work using practice-based research. The stages of this research method have brought forth a poetic text, the realisation of the original music, illustrations, and a voice artist to read the created text. To accomplish the final artistic product, it was important to obtain a theoretical foundation of practice-based research, intermediality, adaptation and the different media involved in the created word. The intermedial effects between the different media in the project provided the results of the study, stemming not only from the readers’ simultaneous experiences of the media as they read or listen to the work but, as it also became clear, from the mutually complementary effects between the different media of which their combination provided a richer final product.

Lincolnshire Folk-Tale

1896 ◽  
Vol s8-X (258) ◽  
pp. 454-454
Author(s):  
W. M. E. F.
Keyword(s):  
Folk Tale

Developing Metacognitive Thinking in Young Children: A Case Study

1998 ◽  
Vol 13 (1) ◽  
pp. 23-27 ◽  
Author(s):  
Tom Lowrie
Keyword(s):  
Young Children ◽  
Point Of View ◽  
Folk Tale ◽  
Metacognitive Processes ◽  
Questioning Techniques

This article reports a case study involving a talented Year 1 (aged 6) child who was challenged to “take another person's point of view” when responding to a series of questions based on a well-known folk tale. It is argued that the use of effective questioning techniques allowed the child to develop a variety of metacognitive processes.

Custom and Folk Tale in Palestine—the Dowry or Bride Price

Folklore ◽  
1937 ◽  
Vol 48 (1) ◽  
pp. 28-40
Author(s):  
Grace E. Crowfoot
Keyword(s):  
Folk Tale ◽  
Bride Price

A Samoan Folk Tale

1950 ◽  
Vol 9 (1) ◽  
pp. 70
Author(s):  
Richard H. Dillon
Keyword(s):  
Folk Tale

DRAMATURGI KESENIAN TRADISIONAL DALUPA PRODUKSI SANGGAR SENI DATOK RIMBA DI WOYLA ACEH BARAT

2021 ◽  
Vol 10 (1) ◽  
pp. 15
Author(s):  
Susandro Susandro ◽  
Rika Wirandi ◽  
Hatmi Negria Taruan
Keyword(s):  
New York ◽  
Creative Process ◽  
Creation Process ◽  
Folk Tale ◽  
The Third ◽  
The People ◽  
Third Stage ◽  
Three Stages ◽  
Banda Aceh

Dalupa art emerged from the creative process of the people of West Aceh which can be stretched into three stages. First, Dalupa was originally a folk tale or folklore that was narrated from generation to generation. Second, the Dalupa then manifests (a person wearing the costume of a Dalupa character) so that it can be witnessed in person. At this stage, the Dalupa character does not manifest itself in the form of theater or dance. Its presence is only intended to entertain or enliven an event, such as weddings, processions, campaigns and so on. Third, the Dalupa character is presented by considering the dramatic element; arrangement of a series of events that tell the beginning of the appearance to the end of the Dalupa story. This study aims to record and describe how the process of creating the Dalupa art, as mentioned in the third stage. The method used is qualitative with the dramaturgy approach. This study shows the results that the art of Dalupa presents a story about the origin of the appearance of Dalupa with the manifestation of organized events. On this basis, it can be concluded that Dalupa art can be categorized as dramatic or theater art.Keywords: dalupa, creation process, dramatic, dramaturgy.AbstrakKesenian Dalupa muncul dari proses kreatif masyarakat Aceh Barat yang dapat direntangkan menjadi tiga tahap. Pertama, Dalupa mulanya merupakan cerita rakyat atau folklor yang dinarasikan secara turun-temurun. Kedua, Dalupa kemudian mewujud (seseorang yang mengenakan kostum tokoh Dalupa) sehingga dapat disaksikan secara langsung. Pada tahap ini, tokoh Dalupa mewujud tidaklah dalam bentuk kesenian teater atau tari. Kehadirannya hanya bertujuan untuk menghibur atau meramaikan suatu acara, seperti pernikahan, arak-arakan, kampanye dan sebagainya. Ketiga, tokoh Dalupa dihadirkan dengan mempertimbangkan unsur dramatika; penataan rangkaian peristiwa yang menceritakan awal kemunculan hingga akhir kisah Dalupa. Penelitian ini bertujuan mencatat serta memaparkan bagaimana proses penciptaan kesenian Dalupa, sebagaimana disebut pada tahap ketiga. Metode yang dilaksanakan yaitu kualitatif dengan pendekatan dramaturgi. Penelitian ini menunjukkan hasil bahwa kesenian Dalupa menyajikan cerita tentang asal mula kemunculan Dalupa dengan perwujudan peristiwa-peristiwa yang tertata. Atas dasar tersebut, dapat dismpulkan bahwa kesenian Dalupa dapat dikategorikan sebagai seni dramatik atau teater.  Kata Kunci: dalupa, proses penciptaan, dramatika, dramaturgi. Authors: Susandro : Institut Seni Budaya Indonesia Aceh Rika Wirandi : Institut Seni Budaya Indonesia Aceh Hatmi Negria Taruan : Institut Seni Budaya Indonesia Aceh References:Barba, Eugenio. (2010). On Directing and Dramaturgy: Burning the House. New York: Routledge.Harymawan. (1993). Dramaturgi. Bandung: Rosdakarya.Herman, RN. (2016). Dalupa: Teater Tradisional Pantai Barat. Buletin Tuhoe edisi XVII. Banda Aceh: JKMA Aceh.Koster, G.L. (1998). Kacamata Hitam Pak Mahmud Wahid Atau Bagaimanakah Meneliti Puitika Sebuah Sastra Lisan?, dalam Pudentia MPSS (Ed.), Metodologi Kajian Tradisi Lisan. Jakarta: Yayasan Obor Indonesia dan Yayasan Asosiasi Tradisi Lisan.Moleong, Lexy J. (2005). Metodologi Penelitian Kualitatif, Ed. Revisi cetakan keduapuluhsatu. Bandung: Rosdakarya.Pramayoza, Dede. (2013). Dramaturgi Sandiwara: Potret Teater Populer Dalam Masyarakat Poskolonial. Yogyakarta: Penerbit Ombak.Soedarsono, R.M. (2001). Metodologi Penelitian Seni Pertunjukan dan Seni Rupa. Bandung: MSPI (Masyarakat Seni Pertunjukan Indonesia).SSDR. (2019). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.Stokes, Jane. (2007). How to do Media and Kultural Studies: Panduan Untuk Melaksanakan Penelitian dalam Kajian Media dan Budaya. Terj. Santi Indra Astuti. Yogyakarta: Bentang.Taruan, H.N. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.  Wirandi, R. (2020). “Dramaturgi Kesenian Tradisional Dalupa”. Hasil Dokumentasi Pribadi: _________  2020, Aceh Barat.

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