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Starting from ~5550, the Chlouvānem world started to have more frequent contacts with the peoples on the other side of the Camipāṇḍa mountains – the most notable civilization of whose was the [[Skyrdagor]] one: the Greater Skyrdegan Empire had been founded less than a century before and their society was undoubtedly the most developed the Chlouvānem had ever come into direct contact with. | Starting from ~5550, the Chlouvānem world started to have more frequent contacts with the peoples on the other side of the Camipāṇḍa mountains – the most notable civilization of whose was the [[Skyrdagor]] one: the Greater Skyrdegan Empire had been founded less than a century before and their society was undoubtedly the most developed the Chlouvānem had ever come into direct contact with. | ||
The Chlouvānem-Skyrdegan exchanges brought forth a revolution in Chlouvānem literature: the birth of theater (''bræšlanah'') as a new, distinct genre. Chlouvānem theater before the Skyrdegan contact was virtually nonexistant, and mostly associated with semi-nomadic travellers, who incorporated theater-like intermissions in their mostly musical or circus performances.<br/>Skyrdegan theater (''pomthkarhydh'' [ˈpɔnθˌkɒ˞xɯð]), on the other hand, already had a long tradition, which the Chlouvānem quickly adopted. | The Chlouvānem-Skyrdegan exchanges brought forth a revolution in Chlouvānem literature: the birth of theater (''bræšlanah'') as a new, distinct genre. Chlouvānem theater before the Skyrdegan contact was virtually nonexistant, and mostly associated with semi-nomadic travellers, who incorporated theater-like intermissions in their mostly musical or circus performances.<br/>Skyrdegan theater (''pomthkarhydh'' {{IPA|[ˈpɔnθˌkɒ˞xɯð]}}), on the other hand, already had a long tradition, which the Chlouvānem quickly adopted. | ||
Chlouvānem theater began as modelled closely on the tradition of Skyrdagor, with the tradition that would later become the most widespread among the Chlouvānem, that is, human-played theater, getting the name of ''panthakāhida'' from the general Skyrdagor word for theater. This genre is as much theater as it is musical opera – music, dance, costumes, and scenography are all as important as the script is, and the emphasis on masks, make-up, and elaborate costums of the Skyrdegan upper-class theater was directly adapted into the Chlouvānem tradition. Music and dances, however, were almost completely Chlouvānem in nature, except from the emerging scene in the Chlouvānemized Toyubeshian realms, which used more local instrumentation and, notably, Skyrdegan percussion instruments for the rhythm.<br/>Subjects of early Chlouvānem drama were mostly of the same nature of those popular in literature written at the time, that is, drawing from the corpus of missionary heroes, but some of them also drew from earlier poetry and other tales – the ever popular Classical tale of ''Chlærišah and Bāḍhmālyam'' was one of the first Chlouvānem tales to be transposed for theater and, being such a known tale in Chlouvānem popular culture, it is even today one of the most popular subjects in Chlouvānem arts. Some of the very first dramas, however, were adaptations to a Chlouvānem context of Skyrdagor works: for example, the most famous opera of playwright<ref>Note that Chlouvānem theater works typically have at least two or three authors: a musical author, a lyrical author, and often authors of costumes and dances. In all theater works mentioned here, only the lyrical author will be mentioned, as it was not uncommon for a single "libretto" to be used in different operas with different musical scores.</ref> Tālimausi Mailhommāvi ''Nilāmulka'', the ''Švaragūlannīšuketoe'' (the Opera of Švaragūlan), was a transposition of the ''Lyszaszhag persenekyk'' (the Saga of Lyszaszhag), a popular Skyrdagor travel epic, with an inversion of the perspective from a voyage in the unknown North to a voyage in the unknown South: ambients and people change but the overall plot is essentially the same. | Chlouvānem theater began as modelled closely on the tradition of Skyrdagor, with the tradition that would later become the most widespread among the Chlouvānem, that is, human-played theater, getting the name of ''panthakāhida'' from the general Skyrdagor word for theater. This genre is as much theater as it is musical opera – music, dance, costumes, and scenography are all as important as the script is, and the emphasis on masks, make-up, and elaborate costums of the Skyrdegan upper-class theater was directly adapted into the Chlouvānem tradition. Music and dances, however, were almost completely Chlouvānem in nature, except from the emerging scene in the Chlouvānemized Toyubeshian realms, which used more local instrumentation and, notably, Skyrdegan percussion instruments for the rhythm.<br/>Subjects of early Chlouvānem drama were mostly of the same nature of those popular in literature written at the time, that is, drawing from the corpus of missionary heroes, but some of them also drew from earlier poetry and other tales – the ever popular Classical tale of ''Chlærišah and Bāḍhmālyam'' was one of the first Chlouvānem tales to be transposed for theater and, being such a known tale in Chlouvānem popular culture, it is even today one of the most popular subjects in Chlouvānem arts. Some of the very first dramas, however, were adaptations to a Chlouvānem context of Skyrdagor works: for example, the most famous opera of playwright<ref>Note that Chlouvānem theater works typically have at least two or three authors: a musical author, a lyrical author, and often authors of costumes and dances. In all theater works mentioned here, only the lyrical author will be mentioned, as it was not uncommon for a single "libretto" to be used in different operas with different musical scores.</ref> Tālimausi Mailhommāvi ''Nilāmulka'', the ''Švaragūlannīšuketoe'' (the Opera of Švaragūlan), was a transposition of the ''Lyszaszhag persenekyk'' (the Saga of Lyszaszhag), a popular Skyrdagor travel epic, with an inversion of the perspective from a voyage in the unknown North to a voyage in the unknown South: ambients and people change but the overall plot is essentially the same. | ||