Traditional Drama 1984

The distinction between 'langue' and 'parole', familiar in linguistics, may be helpful in clarifying the point that two different approaches to calendar studies, both of which have engaged my attention, are essentially complementary. The more familiar functional approach is comparable with 'parole', the language as spoken at a particular place and time by a particular community, while the semiotic approach which looks at the total design of a specific calendar structure is comparable to 'langue', the internal structuring of a language. The semiotic approach adds a new dimension to the study of the period of chaos before the start of a year and offers a fresh interpretation of the Twelve Days of Christmas.

[Checked with author. No typescript. Probably based on:
Emily Lyle (1984) The Dark Days and the Light Month
Folklore, 1984, Vol.95, pp.221-223]

This paper presents a further critique of some prior scholarship looking through some open doors at what everyone has seen: the recent origins of the mummers' play and the mumming play as propaganda.

[Ron Shuttleworth Collection holds handout.]

In Roomer 3:1 (1983), 5, Sam Richards commented:

"Judging by the contents of Roomer I may perhaps be forgiven for thinking that Traditional Drama consists entirely of matters surrounding St. George, Mummers, Fools, Robin Hood and chapbooks, etc. Do specialists in Traditional Drama include any of the following in their studies?

1. Local pantomimes.
2. Punch and Judy.
3. Street theatre, past and present.
4. Toasting Contests (as with black DJs).
5. Some of the more elaborate party games which involve role playing, disguise, or representation of animals.
6. Children's games which basically involve play acting, playing house, or any of the goodies and badies mange. These, after all, are improvised plays which follow patterns.
7. Monologues, especially those requiring dressing up.

If not, why not?"

This comment is presented to the conference for open discussion.

In addition, the discussion will explore the notion that little can be gained by studying the bast legacy of printed and manuscript descriptions of traditional plays.