Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

From Private Zashiki to the Public Stage: Female Spaces in Early Twentieth-Century Nō

From Private Zashiki to the Public Stage: Female Spaces in Early Twentieth-Century Nō This article discusses the situation of women in <i>nō</i>, focusing on the early twentieth century as a crucial period for the advancement of women. At that time, the reconstruction of gender relations assumed a central position in the debates on modernization, and the first actresses in modern theatre (<i>shingeki</i>) developed into ambivalent icons of the “new woman” (<i>atarashii onna</i>). In <i>nō</i>, following the dramatic rise in the number of female amateurs and the resultant need for female instructors, leading critics and performers engaged in two-sided debates on the role of women. The main points at issue still persist in contemporary debates. This essay offers a compendium of historical information on the key question of female participation in <i>nō</i>, which has been researched very little up to now, and discusses contemporary discourses on gender in <i>nō</i>. By analyzing the situation of women in its sociopolitical context and taking into account the debates on performing gender on stage that were taking place in all genres of performing arts at that time, it adds a new dimension to the existing research. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

From Private Zashiki to the Public Stage: Female Spaces in Early Twentieth-Century Nō

Geilhorn, Barbara
Asian Theatre Journal , Volume 32 (2) – Sep 14, 2015
Download PDF
24 pages

Loading next page...
 
/lp/university-of-hawai-i-press/from-private-zashiki-to-the-public-stage-female-spaces-in-early-rjTdCO0xdW

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109

Abstract

This article discusses the situation of women in <i>nō</i>, focusing on the early twentieth century as a crucial period for the advancement of women. At that time, the reconstruction of gender relations assumed a central position in the debates on modernization, and the first actresses in modern theatre (<i>shingeki</i>) developed into ambivalent icons of the “new woman” (<i>atarashii onna</i>). In <i>nō</i>, following the dramatic rise in the number of female amateurs and the resultant need for female instructors, leading critics and performers engaged in two-sided debates on the role of women. The main points at issue still persist in contemporary debates. This essay offers a compendium of historical information on the key question of female participation in <i>nō</i>, which has been researched very little up to now, and discusses contemporary discourses on gender in <i>nō</i>. By analyzing the situation of women in its sociopolitical context and taking into account the debates on performing gender on stage that were taking place in all genres of performing arts at that time, it adds a new dimension to the existing research.

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Sep 14, 2015

There are no references for this article.