Written by: DeLillo Quentin
Proposed Grant: Ragunna Dramatic Association Regional Research Project - Aspire Scholars Grant Avinoleum Theological Seminary, Ragunna, Rinascita
This paper reviews recent research trends and developments regarding the origins of drama culture in the Ragunna and Septimont regions, with a particular focus on advancements in the "archaeology of drama" over the past decade. Drawing on the diverse research and perspective studies from the New Federation in recent years, the paper also incorporates insights from Huanglong's archaeological experience in studying historical relics. The case studies selected focus primarily on classic plays and significant historical events. The findings suggest that Ragunnesi drama culture originated from narrative performances that documented the history and life of island tribes.
Keywords: history of drama, cultural studies, review, folklore studies, archaeology
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As illustrated in key literature such as Chronicles of Avinoleum and The Golden Bough, the origin of drama is directly tied to the faith of Sentinel Imperator. However, technical studies of stage design, costumes, makeup, masks, and props, as found in both historical and modern literature, as well as translated foreign texts, reveal that much remains to be explored regarding the evolution of drama as a reflection of life and folklore. For instance, the Montelli Culture Foundation's Cultural Characteristics and Cultural Reconstruction in Translation: A Case Study of the Journey to Rinascita Collected in Huanglong examines the transition from folk traditions to their textual and stage representations in drama, focusing on the evolution of the translated texts.
Seminary Commentary: Please do not submit the anecdotal piece for Almanacs and the Occult to our foundation. Additionally, food security must be more strictly managed to prevent potential nervous breakdowns among students caused by consuming spoiled bell crabs.
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The people of Rinascita during the Age of a Thousand Islands used costumes to represent the origins of different tribes, masks to symbolize ancestors and totems, and various tribal languages to interact and communicate with one another during the Carnevale in the form of drama. This process continued until a fusion and mutual understanding among the tribes was achieved. After numerous adaptations and reinterpretations of folklore and legends, it eventually evolved into the prototype of the Ragunnesi drama, which remains popular today. Mentor Commentary: It is recommended to omit some of the details and avoid excessive research, as the paper will be reviewed by the Chamber of Enlightenment of the Order.
(This handwritten notebook is almost completely torn, with only a few pages from the Epilogue remaining.)
I would like to dedicate this paper to my friends who have supported me, to those who have secretly provided invaluable literature for my research, to the work of my father, DeLillo Quentin, to the exile granted to me by the Order of the Deep, and to the expulsion by Avinoleum Theological Seminary.
This paper, titled "A Study on the Evolution of Drama Costumes and Stage Design," has taken four years to complete, from its inception to the eve of my exile, and I have finally finished the first draft. I hope my friends can read it, as I originally intended.
Tomorrow morning, I will leave Ragunna aboard the Pilgrim's Sail, just as my father did, in search of the Sentinel-Praise be to Imperator! If I survive, I hope you, the omnipresent Imperator, will guide my way.
...When I was a child, my father, DeLillo, said to me before he left, "Little Quentin, do you know what humans are?"
I knew that would be my father's last words to me, so I replied that I didn't know. Father then said, "Keep doing your best, Mario Quentin. Humans are a blade of thinking seagrass."