A Debreceni Déri Múzeum Évkönyve 1985 (Debrecen, 1986)
Néprajz - Ujváry Zoltán: Actors Wearing Outlaw’s Masks and Outlaw Plays
Zoltán Ujváry ACTORS WEARING OUTLAWS' MASKS AND OUTLAW PLAYS A characteristic type of dramatic folk customs and folk plays is the outlaw generally known in the Hungarian-speaking world. This peculiar figure of the Hungarian society, or, rather, a figure outside society ("outlaw") was present in the Hungarian history and aroused interest in it for about 150 to 200 years. It can be found in every génre of folklore. Outlaw songs and ballads, folk stories and legends depicting the deeds of outlaws form a separate group. His character was welcomed in literature, and arts, too. He also appeared on objects of folklore and the canvases of well-known painters. Works of art of many different levels, ranging from trashy, rubbishy crime stories to literary works of high artistic value, deal with the relics of the world of outlaws, especially with the deeds and lives of better-known outlaws. This galaxy of representations reflects the approaches and concepts which were formed by the various strata of society and which were often in sharp contrast with one another. Examples of mysterious romanticism or harsh realism abound in the oral tradition and literary genres. The outlaw made his appearance as the hero of the stage as early as the beginning of the last century. He is either a real hero or a pathetic figure, without any characteristic features. There is little social criticism or protest against the established social order of that time. At the same time, the idealized figures, or, often, the presentation of outlaws as heroes of tales can be observed in folklore. This conception is truly reflected in the outlaw figures of dramatic plays. Actors wearing the masks of outlaws appeared at various events of folk life. They were popular figures in wedding and spinnery performances, they appeared among the masked actors of vintage celebrations and carnival processions, and they were also present among the performances representing various occupations, such as corn-husking, harvest, tobacco-stringing, etc. In part of the room scenes outlaws appeared as masked figures only, without any prescribed role or acting, and tried to arouse interest by their costumes and by assuming the characters of outlaws. The appearance of outlaws —especially in spinneries —was accompanied by singing and dances. The participants took great pleasure in singing and dancing with the "elegantly dressed", "gentleman-like" outlaws. Outlaws are specifically Hungarian folk heroes and historical figures in the Hungarian dramatic customs and folk plays. Outlaws appear in them as they usually do in songs, ballads, prisoners' songs and legends : they represent a type, a kind of folk hero, or, rather, a historical génre figure, who was given his romantic characteristic features in the process of folklore. The plot depicts the last stage of the outlaws' lives in folklore, the event when they are merrymaking for the last time and are caught. In the outlaw performances there appear some social criticism and some resistance. The outlaws who stand against power succumb. European instances of outlaw plays show that the figures of outlaws, folk heroes, figures of highwaymen and bandits found their way into popular customs and popular dramatic traditions in different manners. The characters themselves differ greatly : there is a whole range of figures from the sometimes positive hero of the historical, true resistance fighter to the figure of the common bandit. The qualities of the scenes are different too : numerous variants can be found ranging from wellconstructed plays with several characters, songs and dialogues to plays with no text presenting the masked figure only. The variants of outlaw plays —outlaws figures —can be integrated and compared only when the nature of their subject matter is concerned, but even this requires the study of the various national peculiarities, the world of outlaws and the background of outlaw stories. Hungarian outlaw plays and the outlaw figures impersonated in them are the best examples of plays and masked acting with an inner turning of events, with a popular source of inspiration and wording. The relevant scenes join nicely the varied and rich traditions of Hungarian outlaw folklore. 272
