<i>Essays on the Ragunnesi Drama</i>

"Please, don't turn me into a blade of seagrass tomorrow!"

A Comprehensive Study of the History of Ragunnesi Drama (with Commentary)
A Comprehensive Study of the History of Ragunnesi Drama: The Evolution of Tribal Cultural Fusion and Faith Systems
Written by: DeLillo Quentin
Proposed Grant: Ragunna Dramatic Association Regional Research Project - Aspire Scholars Grant
Avinoleum Theological Seminary, Ragunna, Rinascita

Abstract: 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.

A Study on the Evolution of Drama Costumes and Stage Design
(This handwritten notebook is almost completely torn, with only a few pages from the Epilogue remaining.)
Epilogue:
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."
I didn't understand why humans would be compared to a blade of seagrass. But now, I think I understand what father meant—don't stop thinking and don't stop searching.
The islands of the past were destroyed in the Lament. Under Imperator's guidance, our ancestors boarded the Ark and voyaged far, eventually establishing Rinascita on the land it now occupies. During the Age of a Thousand Islands, to commemorate their lost homes and honor their tribespeople in the Lament, people began to wear the costumes of their tribes and masks symbolizing their ancestors and totems. As concluded in Chapter 4 of this paper, the culture of drama has never been a blessing promised by the Order. Rather, it is a commemoration and symbol developed independently by the people of Rinascita.

But are we truly just a blade of seagrass?
If so, there must be a distinction between the seagrass that flows with the waves and those that can think independently, right?
People praise the name of Imperator for its mercy and its encompassing nature, for preserving the culture that unites people from different tribes, helping them merge and support one another. They praise Imperator for the will to unite the vast patch of seagrasses to defy the currents of the Lament.
Praise be to Imperator! We exalt you! But have the Ragunnesi of today truly executed your true will?
Ah, great Imperator! I don't want to die... I really don't... I wish I could attend the Carnevale one more time... I'm truly terrified... Please, don't turn me into a blade of seagrass tomorrow!

Laurel and Sword (Part I)
Laurel and Sword: On the Divine Imagery in The Golden Bough
Journal Title: Ragunna Sea Breeze Drama Society Research Journal, Volume 1
Category: Literary Studies, Literary Theory, Theater, The Golden Bough

The Golden Bough, a Ragunnesi narrative epic rich in history and deeply influenced by primitive religious culture, is renowned for its prominent theatrical elements. The epic begins with pastoral plays that draw on the primitive beliefs and customs of various tribes during the Age of a Thousand Islands. As the story unfolds, these diverse narratives converge under the guidance of Sentinel Imperator. The author employs the perspectives of the Divine Envoys to provide Imperator's view, allowing the characters to assume their roles in classical plays. Throughout the work, recurring symbols of religion and totems appear, echoing metaphors commonly found in traditional plays. The use of these theatrical elements has helped establish the epic as a beloved classic, cherished by both officials and commoners in Ragunna. Furthermore, it embeds the author's profound reflections on the will behind the Oracle delivered by Sentinel Imperator, as well as the social changes occurring in the region of Rinascita.
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One of the most commendable scenes in The Golden Bough is the concluding Scene 3, where five storylines dramatically converge at the climax of the Carnevale: the Holy Forest of the Fagaceae Peninsula, the Order of Ragunna, the Keepers of Secrets in Thessaleo Fells, the successor of the governor in Septimont, and the gladiators, all merging in a grand finale. In this scene, the author masterfully interweaves characters and plotlines, capturing the unique allure of a grand historical tragicomedy. This convergence in Scene 3 has served as a template, inspiring countless plays thereafter. The scene's influence owes much to its intricate plot design, which displays a skillful technique that sets a standard in narrative structure. Beyond the theoretical framework of the work itself, this design—where each element reflects the core theme and draws from historical settings—has solidified this epic as a timeless classic, maintaining its relevance and reverence across cultural shifts in literary history. (See Note 23)
The Golden Bough is recognized as the earliest work of art to connect tribal folklore with the Sentinel (see Note 24). In the climactic Scene 3 of the Carnevale, the five masks stand together, each pursuing their own faith, when Sentinel Imperator descends from above, bestowing the laurel upon the chosen Enlightened One—the main protagonist on stage. This ritual has since become a lasting cultural emblem in the hearts of the people of Rinascita. From this scene onward, every heroic journey must conclude with the ritual of "being laureated," whether the hero takes on the role of an actor on stage or a playwright behind the scenes during the Carnevale.

Laurel and Sword (Part II)
Laurel and Sword: On the Divine Imagery in The Golden Bough
Journal Title: Ragunna Sea Breeze Drama Society Research Journal
Category: Literary Studies, Literary Theory, Theater, The Golden Bough

(Continued)
The reason for Sentinel Imperator's descent at the climax of the Carnevale in The Golden Bough remains an open question, one largely unexamined in the epic itself or in related research. Historically, the prevailing view in the Seminary held that the Laureate must be the individual who most aligns with Rinascita's ideals and resonates with the Sentinel—not driven by dramatic passion or ulterior motives. For a long time, this perspective dominated studies of The Golden Bough and the broader field of Laureate literature, with the laurel seen as a symbol of immense honor and the embodiment of Rinascita's collective will. (See Note 25)
However, following the cultural events after the Seminary incident, the Laureate's symbol and performances are now seen as expressions of the Sentinel's divine will—the guiding force behind delivering the Oracle and unifying the doctrines. The image of laurel has also come to represent this sacred intent.
The author raises an intriguing question: given this interpretation, could the selection of the Laureate itself be seen as an indoctrination of freedom—a concept seemingly at odds with The Golden Bough? Can freedom, once indoctrinated, still be considered freedom?

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[23] Charlie Welbeck, "The History of Reforms on the Rinascita Drama Aesthetics," published by Avinoleum Theological Seminary Culture Journal.
[24] Mario Quentin, "A Study on the Evolution of Drama Costumes and Stage Design," published by Foreign Culture Studies Publishing House.
[25] Cosimo Sorrentino, "A Study on the Readership of The Golden Bough," published by Ragunna Dramatic Association.