Agria 23. (Az Egri Múzeum Évkönyve - Annales Musei Agriensis, 1987)
Ujváry Zoltán: Prológus és színre lépés a dramatikus népszokásokban
IRODALOM BAKSAY Sándor 1981. Magyar népszokások. In.: Az Osztrák-Magyar Monarchia írásban és Képben Magyarország II. Budapest DÖMÖTÖR Tekla 1983. A népszokások költészete. Budapest. FERENCZI Imre-UJVÁRY Zoltán 1962. Farsangi dramatikus játékok Szatmárban. Debrecen. Magyar Népzene Tára 1953. II. Jeles napok. Budapest 1956. III/B. Lakodalom. Budapest MAKKAI Endre-NAGY Ödön 1939. Adatok téli néphagyományaink ismeretéhez. Kolozsvár SCHMIDT Leopold 1937. Formprobleme der deutschen Weinachtspiele. Emsdetten UJVÁRY Zoltán 1971. A népi színjátékok bekérető-beköszöntő formuláiról. In.: Emlékkönyv a túrkevei múzeum fennállásának huszadik évfordulójára (szerk.: Dankó Imre) Túrkeve Theatrul... 1957. Theatrul popular rominesc. Studi i si cercetari de istorie literara si folklór, 1957. Nr. 3-4. Zoltán Ujváry Prologue and entering the stage A part of the folk dramatic customs, plays and different mask acts has a special opening or beginnig formula. Similarly to some plays acted by comadians in fairs or professional actors, in these plays a person announces the performance calling the attention of the audience and providing them with brief information about the roles and the parformers. Its function coincides with the prologue of the antique drama. The announcer informs those present, „the audience" about the actors' arrival before the perfomance or the appearance of the performers, and he asks for permission or in some cases he gives permission to show the performance. There are three important groups of the Hungarian dramatic folk plays characterized by starting the play with a prologue: Plays performed in the spinning houses mostly at carnival time, dramas played indoors on the occasion of the wedding party, and in Nativity Plays of religious subject, which is also generally known by the Hungarian people. The person who tells the prologue has a significant role in the plays, he is even promoted to become an active pleyer in some dramas. The present study aims to show the functional aspects of the prologues of the three types. 329
