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Editor's Note

Editor's Note As the title of Pirandello's play claimed, "So it is (if you think so)." But the authors of this issue of ATJ point out that it is useful to test received wisdom. The articles give insight into Japanese kabuki, contemporary Thai performance, and Tibetan lhamo folk opera. While thematically diverse, the articles share common features. They remind us that even the most conservative of genres is malleable to the changing politics of the producers. They show that the West sometimes serves as an ideological whipping boy in conflicts about societal directions. The articles all show that received versions of history can profitably be questioned. Though this issue does not include a play, it does not lack drama. James Brandon's article on kabuki censorship by the American Occupation in the wake of World War II covers old ground, but shows that by going into the archives a researcher can resurrect a completely different history about an event. While acknowledging the importance of Fabion Bowers in the Occupation censors' office, Brandon presents the startling conclusion that other theatre censors were as significant in "saving" kabuki, and preceded Bowers in releasing plays. The Japanese producers, and not just philistine Americans, may http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Editor's Note

Foley, Kathy
Asian Theatre Journal , Volume 23 (1) – Apr 12, 2006
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2006 The University of Hawai'i Press.
ISSN
1527-2109
Publisher site
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Abstract

As the title of Pirandello's play claimed, "So it is (if you think so)." But the authors of this issue of ATJ point out that it is useful to test received wisdom. The articles give insight into Japanese kabuki, contemporary Thai performance, and Tibetan lhamo folk opera. While thematically diverse, the articles share common features. They remind us that even the most conservative of genres is malleable to the changing politics of the producers. They show that the West sometimes serves as an ideological whipping boy in conflicts about societal directions. The articles all show that received versions of history can profitably be questioned. Though this issue does not include a play, it does not lack drama. James Brandon's article on kabuki censorship by the American Occupation in the wake of World War II covers old ground, but shows that by going into the archives a researcher can resurrect a completely different history about an event. While acknowledging the importance of Fabion Bowers in the Occupation censors' office, Brandon presents the startling conclusion that other theatre censors were as significant in "saving" kabuki, and preceded Bowers in releasing plays. The Japanese producers, and not just philistine Americans, may

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Apr 12, 2006

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