1 - 10 of 18 articles
Post-midnight plays were bawdy, skitlike plays performed late at night, after the women and children have left. Traditionally characterized by lascivious content, they did not use playscript and were frowned upon by the Confucian literati and government. Many Chinese xiqu (opera)...
The entrance dance by the character Sukeroku is a highlight of Sukeroku Yukari no Edo Zakura, a kabuki play that has been a mainstay on the Japanese stage since the early eighteenth century. Analysis of this dance that features one of Japan's most iconic stage persona demonstrates the...
Leading director Meng Jinghui's theatrical works move toward a more popular and urbanized theatre in contemporary China. Meng's Rhinoceros in Love provides a poignant reflection of the capitalist cultural condition. This paper examines the significance of this work as well as...
Kheimeh shab bazi is a traditional marionette form of Iran. The historical background is obscure, though we find references to puppetry in literature and travel reports. The practice of the art in twentieth- and twenty-first-century Iran is detailed.
This report documents the activities of the Komedya Fiesta 2008 and discusses how scholars and others have cited komedya as a national theatre for the Philippines, but argues why this form cannot serve as a national theatre because of its Roman Catholic religious orientation.
Baresahariya bhaona, a unique festival of Vaishnava theatrical performance, has been celebrated for more than two hundred years in the northeast Indian state of Assam. During the festival twenty-some plays are staged simultaneously under a uniquely designed roof in an acting area shaped like a...
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