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Early nineteenth-century Japanese theatre was dominated by the kabuki playwright Tsuruya Nanboku IV, who seized on the fascination with evil and the vendetta in contemporary literature to create a new type of kabuki play. This genreâof which Ehon GappÅ ga Tsuji is the...
Scholars have often pursued comparative studies of major traditions of theatrical theory (Greek, Sanskrit, and nÅ), and the theories themselves are often used as windows on vanished modes of performance. This article, however, considers the theoretical treatises as discourses that advance...
Edward Gordon Craig's conception of theatre was stimulated not only by the European past but also by the Far East, especially the Japanese theatre. This influence can be claimed in particular for his endeavors to devise an aesthetic in which all the arts combined on stage to create a "total"...
This article examines the funding of three performing arts of Kerala, considered India's most progressive state. The data collected by Diane Daugherty during the yearlong Golden Jubilee celebration of Indian independence reveal that while the level of support was woefully inadequate, Kerala...
Modern discussions of ritual and the origins of the six-hundred-year-old Japanese nÅ theatre have focused on the enigmatic Okina danceâone of the "three rites," shikisanban, enacted today by performers at the New Year's and other ceremonial occasions. For modern nÅ...
Several recent theatrical works in Taiwan have used multiple languages within a single performance. Using two 1997 productions as examples, John B. Weinstein argues that this multilingual technique, which feels natural to playwrights, actors, and audiences in Taiwan, enables the playwrights to...
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