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Errata

Errata iv From the Editor We must continually search for the right theoretical tool(s) for the time, place, and artwork engaged. Sometimes the tool will indeed be the current theory in style and the phenomena are actually related, but too often Western theory is a clumsy hammer. I hope that we can increasingly see that postcolonialisms, hybridities, and gender repre- sentations are diverse. Writers exploring local ideas and Asia-to-Asia links can birth new theories that grow from Asian practices and Asia’s changing spheres of culture. When this occurs, the writing will force the Western academy beyond its limited concerns and confines. Kathy Foley University of California, Santa Cruz Please note the following corrections to “Phillip B. Zarrilli” by Sunhee Kim in Asian Theatre Journal 33, no. 2 (Fall 2016): 446-458. p. 446, paragraph 2, sentence 1 of article. Phillip Zarrilli was awarded recognition of his mastery of kalarippayattu in 1986. p. 447, paragraph 2, sentence 1 of the article. Born in 1947 in Cov- ington, Kentucky, he earned a BA in Philosophy and Religion at Ohio University, Athens, and was engaged in the 1960s in social and political activism in the United States. p. 453, figure 3. Told by the Wind performed by Phillip Zarrilli and Jo Shapland. (Photo: Ace McCarron) p. 454, figure 4. The 9 Fridas at Taipei Arts Festival. (Photo: Courtesy of Mobius Strip Theater) p. 427, note 2. Zarrilli was a co-founder and not sole founder of the PhD in performance practice at University of Exeter. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Errata

Asian Theatre Journal , Volume 34 (1) – Feb 15, 2017
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

iv From the Editor We must continually search for the right theoretical tool(s) for the time, place, and artwork engaged. Sometimes the tool will indeed be the current theory in style and the phenomena are actually related, but too often Western theory is a clumsy hammer. I hope that we can increasingly see that postcolonialisms, hybridities, and gender repre- sentations are diverse. Writers exploring local ideas and Asia-to-Asia links can birth new theories that grow from Asian practices and Asia’s changing spheres of culture. When this occurs, the writing will force the Western academy beyond its limited concerns and confines. Kathy Foley University of California, Santa Cruz Please note the following corrections to “Phillip B. Zarrilli” by Sunhee Kim in Asian Theatre Journal 33, no. 2 (Fall 2016): 446-458. p. 446, paragraph 2, sentence 1 of article. Phillip Zarrilli was awarded recognition of his mastery of kalarippayattu in 1986. p. 447, paragraph 2, sentence 1 of the article. Born in 1947 in Cov- ington, Kentucky, he earned a BA in Philosophy and Religion at Ohio University, Athens, and was engaged in the 1960s in social and political activism in the United States. p. 453, figure 3. Told by the Wind performed by Phillip Zarrilli and Jo Shapland. (Photo: Ace McCarron) p. 454, figure 4. The 9 Fridas at Taipei Arts Festival. (Photo: Courtesy of Mobius Strip Theater) p. 427, note 2. Zarrilli was a co-founder and not sole founder of the PhD in performance practice at University of Exeter.

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Feb 15, 2017

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