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JOHANNA DOMOKOS mans side and takes the other cane for himself. Ihis event marks the end of the liminal phase, enhancing the feeling of a dream made real, and it also adds a visual dimension to the poetic message. CONCLUSION Just as Noh theater embodies the ancient, intuitive, and syncretic worldview of Japanese culture, the singing tradition of yoiking embodies timeless Sámi culture. Noh is fundamentally a symbolic theater with primary importance attached to ritual in a select aesthetic atmosphere. So, too, is the yoik. Ihe combined yoik and Noh traditions in the plays of both Okura and Valkeapaa give unique manifestations to a series of scripted ritual elements. As this analysis has pointed out, many of the structuring elements of Noh in Okura’s play can also be found in Valkeapää’s piece. The structure of the storyline is the same in both plays, and, as demonstrated, they follow the yagen Noh play pattern. In both plays we find the roles of the waki, the shite, and the chorus, who together carry out the verbal and musical dialogues. Both texts manifest the poetic style of Valkeapää and its major themes: dreams, reindeer herding, wandering in the tundra, the rise and fall of nations, the cycles of nature and life in general etc. — which are all central themes of the Noh tradition as well. This random thematic coincidence proves the thesis that transcultural ritual patterns are more easily transferred if they contain substantial content elements that are similar. The poetic and musical elements structuring both plays, the storyline following a fixed pattern, and the stage instructions for how to carry out the dialogues, all belong to what we have termed scripted rituality. These fixed elements contribute later to the staging of the play as well as to the rituality of theater. The present study aimed to highlight some relevant events relatable to the concept of scripted and embodied rituality as well as liminality. Given that performances and their concepts arise out of the encounter between the artistic “sender” and the audience “recipient,” who negotiate and regulate their relationship in different ways, scripted and embodied rituality, of course, cannot be nailed down to simple interpretations. Instead, these ritualities themselves continuously bring forth the meanings that come into being for the human actants involved in the performative event. This essay took liminality as a constitutive characteristic of performative events such as writing, reading, staging, or participating in a performance. Scripted and embodied rituality were exemplified in the narrative and dialogic structure of the play and its performance, both showing a strong authorial and directorial intention to aesthetically accommodate the performative events for the local audience. Let s 84 ¢
