Metamorpho-poetic Legending in 1950s Film: (1) Ashima

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Self-recursivity and the dubbing of Carnival sequences.

A key point: these stories are self-retold, and ehere the Greand Fair cenetrsa it, it s becaysed in fact: they are mediated to the point that one woud scarcely know that their were either pastoral or metamolrphic, not to mention retellers of eegnd.

Relaytes to our earleir icsussion: the loivelihooding “class’ of mistrels while almost eevrywhere ferrying and reembroidering scripst that they in teurtn ingerited from prompt books or before thasn chuanqi taesd, were not – ocvuld not- be paert of ther perf landscape in the autochtnonic swatches of terrain Human but more than that geommoprhic) where distance and de- (orr pre) commercial prertrophy and/or the scarcirty of auenciegathering on a scale or axcross a route that wiukd “ppay” was not a possivbioity.

Tho I am not persdoanlly acqauiantarted with the precusro or aletrnative moderrs of storyrwelliung in such loci – where prof re-tellers, gytpsies, minmstrels etc ventured not – I would ventire with some comnfigence that the storying was via oral recital in strophic cform, and probaboly a good dea less amenable to inented inyterp[ellations and digressions than were baeridci tales oncer they had sheltered within the reperrorys of professiinal re-narators or singerd. Since – asnd this casnot be stressed enough – there was by def in such polacesd NO professional (meanig itinerant-begging0 class of reciters, by-us for us (the orig meanig fo minjian minzu) and no competition for audience or paty, there would have been no need; indeedd, it seems probable that the “fixing” of these seemingoy unievrsal or proto-Grecian tales was in the hands of women who recikted them pievemeal or in extreme (uni-chapetr) comoression to nighnoirs of or chidren swho happened to be in their comoany when “classically” feminine aggreations took place: laundering and embroiderign (for mutual imnstr) beig the best known.

This exemption from prior minstrrexic trabsdform (save a thidd ahd..) poves also to be importgant as a facilitator of the Ashia ooera, since there wewre no songs or ekongative cinvetniions that needed to be payed hommage to (recaspoed) to lend authentivity. Forbetetr or worse, here was a tae which the librettosts as well ans composers could mpount on thre satge with nearly full gfreedom to expreient sequitiur with disatinctly Western vociing: somethiung heard most clraselty tin the choral and sduovical inetrudes. The chrtnokciity of coursr remained, but it was expressed and filmed almsot exclcsibely through collectibve dance and the kind f instrynengal music (I abbrivae it as hrnipie) that was a stahdard of uocounry celebtrration or enertainetn – as in mating rtiaus,

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