Roschen Mar Theatre

Roschen Mar is a style of theatrical performance art, the actors play their parts in silence supported by the sound of an instrument. In all schools except the Romantic School, the instrument used is Delecre. Delecre is a string instrument known for its steep learning curve and freedom of expression a master can have. In Roschen Mar the actors all wear masks for the duration of the play and must not utter a single word, lest the illusion be broken.

-Theatre in Old Tessynia. Vol. 2. A, Volcrast. 17 Kelzyn Era

History:

The foundations of Roschen Mar date back to 2600 Meresch Era, during the twilight years of the Secrid Dynasty. The gradual decline and ultimate collapse meant that large scale theatrical productions were impossible. The region of Anlirr slowly fell to chaos as the Secrid armies were slowly forced out world by world. Early works of these periods depict actors wearing masks to match legends of old, continuing the story telling traditions on these fallen worlds.

It is commonly believed that the first Delecre was crafted using scrap metal from a derelict warship, as the wires from the ship were superior to what could be produced locally. It is unknown whether this story is true, however the plausibility of it cannot be denied. Large numbers of crashed and derelict vessels originate from this time period, thus it is not impossible that salvaged metal was used in the creation of the first instrument.

As an artform onto itself Roschen Mar saw its first on stage performance in the year 1107 Reval Era. The nobles of Rezvorr quickly adopted this form of performance for private plays for the high skill requirements from the performers made the art a status symbol for many, this also led to the creation of the Romantic School, where larger and larger plays where required from the performers. This school of epic story telling remains controversial within the sphere of Roschen Mar professionals to this day.

-Pursuit of the Finite: A History of Art in Anlirr. Z, L, De Kerin. L, A, Volcrast. S, Benns. 366 Kelzyn Era

Performers:

In their roles the performers all wear masks including the instrumentalist, for each forfeits their identity for the duration of the play. These concepts carry over regardless of school or branch. Each performer maintains their silence for the duration of the play, for their voice is their own regardless of role. Thus it is believed that to speak at all is to lose the illusion the performance creates.

Schools:

Generally Roschen Mar can be split into four schools in terms of rule sets and philosophies. School of the Lost is based on the idea that each performer disappears into their roles to the point that no one in the audience would be able to tell which of the participants is doing what role. To achieve this the performers are fully covered and usually go without name for their roles. School of Romance is favored by those with people to impress, the limits of a few performers or instruments are left behind to facilitate truly epic story telling with potentially hundreds of participants. School of Romance, despite the artistic values it can possess nonetheless remains divisive for Roschen Mar performers.

School of the People is both innately flexible and rigid in its nature. It is not restricted to a certain set of classics or instruments, even if practitioners ultimately rely mostly on Delecre. However due to its nature as being an artform for the people, it is restricted in both time for performances and in the level of financial support one can have. While not as controversial as the School of Romance, there is a general notion that this art for the masses somehow cheapens the artform as a whole.

School of Purity remains the most firm in a steadfast holding onto tradition. No play is allowed to have more than five performers at once, neither is a play allowed to use any other instrument for support other than the Delecre. Many classics and most of ancient works can be performed within the rules of the School of Purity. Regardless some would argue that such steadfast holding onto tradition merely closes ones eyes to anything new, anything outside of a set of existing classics. Indeed it can be with great effort that even older works become an accepted part of the School of Purity classic works lists or doctrines.

-Cultures of Anlirr: Grand Theatre. R, Lenneth. O, Y, Kal. 3222 Reval Era

Notable Plays:

School of the Lost:

Mark of Sorrowborne

In Endless Tomorrows

Mask Withers Within

Abandon Without Hope

Alejak the Poet

School of Romance:

Fall of the Scorpion

I, Tyrant

Lords of the Front

Three Roses

Moon, Shadow and Blood

Alejak the Hero

Lightbinder, Hope

Those Born Under Starlight

Dawn of no Tomorrow

School of the People:

Alejak the Warrior

Fool and Fortune

Death of the Scorpion King

Teacher and the Lost

Night Everlasting

Ordoles the Eternal

School of Purity:

Tale of the Unifier

Lost, Wicked and Found

Fate of Ill Souls

Bargain of the Forlorn

One Last Day

Age of the Secrid

Arrogance, an End to All

-Pursuit of the Finite: A History of Art in Anlirr. Z, L, De Kerin. L, A, Volcrast. S, Benns. 366 Kelzyn Era

Influence:

Roschen Mar was not initially well received within the rest of Tessynia, namely along the noble houses. While most of the stories were unfamiliar by nature, the performers of the people quickly adopted the myths, legends and philosophies of the worlds they settled on. Thus the first breakthrough was along the common folk. Lacking a set language, one did not need words to communicate the true meaning of the play. Overtime the curious onlooker became a dedicated follower and the future of the artform among rest of Tessynia was solidified.

While it took notably longer than the former, the noble houses would eventually warm up to the art form of Roschen Mar. More and more noble houses hand their presence in Anlirr. As the presence of the houses grew, so too did Roschen Mar become a part of the lives of those living in the states on Anlirr. School of Romance quickly gained a following among the nobles. The epic style of storytelling and the grandiose plays made it the go to to any who wished to impress their peers, especially those unfamiliar with the art form.

-Theatre in Old Tessynia. Vol. 2. A, Volcrast. 17 Kelzyn Era