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From the Editor

From the Editor This issue is heartening for the international spread of subjects and the number of Asian scholars who are represented and analyzing their own traditions with either local tools or reaching across Asian borders to use ideas from other theatres in the region. Authors are not just assembling the usual icons of twentieth-century Euro-American theory. This indicates that perhaps our field is getting beyond the confines of contemporary Western academic theory. For example, Kyounghye Kwon points out the United Kingdom did not understand Oh Tae-suk’s Tempest, seeing it as “light” since viewers there did not understand the serious use of comedy in Korean performance tradi- tions and theorizations. In a second example, Ghulam-Sawar Yousof and Kheng-Kia Khor, two Malaysian scholars, use the Indonesian theo- ries of refined-coarse (alus-kasar) to analyze wayang kelantan puppetry. Given that Indonesia and Malaysia are often at odds over who owns their linked heritage and that Malay nationalism encourages scholars to limit their thinking to Malay-language sources, this analysis shows an attempt to break nationalist deadlocks. Such writing makes ATJ worth reading. To become a truly international journal, cross-border research that does not always detour to Western thinking is much needed. It is limiting when authors http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

From the Editor

Foley, Kathy
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

This issue is heartening for the international spread of subjects and the number of Asian scholars who are represented and analyzing their own traditions with either local tools or reaching across Asian borders to use ideas from other theatres in the region. Authors are not just assembling the usual icons of twentieth-century Euro-American theory. This indicates that perhaps our field is getting beyond the confines of contemporary Western academic theory. For example, Kyounghye Kwon points out the United Kingdom did not understand Oh Tae-suk’s Tempest, seeing it as “light” since viewers there did not understand the serious use of comedy in Korean performance tradi- tions and theorizations. In a second example, Ghulam-Sawar Yousof and Kheng-Kia Khor, two Malaysian scholars, use the Indonesian theo- ries of refined-coarse (alus-kasar) to analyze wayang kelantan puppetry. Given that Indonesia and Malaysia are often at odds over who owns their linked heritage and that Malay nationalism encourages scholars to limit their thinking to Malay-language sources, this analysis shows an attempt to break nationalist deadlocks. Such writing makes ATJ worth reading. To become a truly international journal, cross-border research that does not always detour to Western thinking is much needed. It is limiting when authors

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Feb 15, 2017

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